Owner’s Manual - Rolandlib.roland.co.jp/manual/en/dl_06-10304/VF-1_e3.pdfOwner’s Manual 01903667 ‘00-11-D3-31N Thank you, and congratulations on your choice of the BOSS VF-1
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Owner’s Manual
01903667 ‘00-11-D3-31N
Thank you, and congratulations on your choice of the BOSSVF-1 24-BIT MULTIPLE EFFECTS PROCESSOR.
Before using this unit, carefully read the sections entitled:
• USING THE UNIT SAFELY (page 2–3)
• IMPORTANT NOTES (page 11)
These sections provide important information concerningthe proper operation of the unit.
Additionally, in order to feel assured that you have gained agood grasp of every feature provided by your new unit,Owner’s manual should be read in its entirety. The manualshould be saved and kept on hand as a convenient reference.
All rights reserved. No part of this publication may be reproduced in any formwithout the written permission of BOSS CORPORATION.
Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.
* Material damage refers to damage or other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.
Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.
The symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the power-cord plug must be unplugged from the outlet.
The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.
The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.
For the USA
FEDERAL COMMUNICATIONS COMMISSIONRADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.– Increase the separation between the equipment and receiver.– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.– Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.This equipment requires shielded interface cables in order to meet FCC class B Limit.
This product complies with the requirements of European Directive 89/336/EEC.
For EU Countries
For Canada
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
NOTICE
AVIS
2
001
• Before using this unit, make sure to read the instructions below, and the Owner’s Manual.
• Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.
• When using the unit with a rack or stand recom-mended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.
• Be sure to use only the AC adaptor supplied with the unit. Also, make sure the line voltage at the installation matches the input voltage specified on the AC adaptor’s body. Other AC adaptors may use a different polarity, or be designed for a different voltage, so their use could result in damage, malfunction, or electric shock.
• Avoid damaging the power cord. Do not bend it excessively, step on it, place heavy objects on it, etc. A damaged cord can easily become a shock or fire hazard. Never use a power cord after it has been damaged.
• This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist.
012b• Immediately turn the power off, remove the AC
adaptor from the outlet, and request servicing by your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page when:
• The AC adaptor, the power-supply cord, or the plug has been damaged; or
• Objects have fallen into, or liquid has been spilled onto the unit; or
• The unit has been exposed to rain (or otherwise has become wet); or
• The unit does not appear to operate normally or exhibits a marked change in performance.
..........................................................................................................013• In households with small children, an adult
should provide supervision until the child is capable of following all the rules essential for the safe operation of the unit.
..........................................................................................................014• Protect the unit from strong impact. (Do not drop it!)..........................................................................................................015• Do not force the unit’s power-supply cord to share
an outlet with an unreasonable number of other devices. Be especially careful when using extension cords—the total power used by all devices you have connected to the extension cord’s outlet must never exceed the power rating (watts/amperes) for the extension cord. Excessive loads can cause the insulation on the cord to heat up and eventually melt through.
..........................................................................................................016• Before using the unit in a foreign country, consult
with your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.
101b• The unit and the AC adaptor should be located so
their location or position does not interfere with their proper ventilation.
..........................................................................................................102c• Always grasp only the plug on the AC adaptor
cord when plugging into, or unplugging from, an outlet or this unit.
..........................................................................................................103b• Whenever the unit is to remain unused for an
extended period of time, disconnect the AC adaptor.
..........................................................................................................104• Try to prevent cords and cables from becoming
entangled. Also, all cords and cables should be placed so they are out of the reach of children.
..........................................................................................................106• Never climb on top of, nor place heavy objects on
the unit.
..........................................................................................................107c• Never handle the AC adaptor or its plugs with wet
hands when plugging into, or unplugging from, an outlet or this unit.
..........................................................................................................108b• Before moving the unit, disconnect the AC adaptor
and all cords coming from external devices.
..........................................................................................................109b• Before cleaning the unit, turn off the power and
unplug the AC adaptor from the outlet (p. 17).
..........................................................................................................110b• Whenever you suspect the possibility of lightning
in your area, disconnect the AC adaptor from the outlet.
Main Features..........................................................................................9
How to use this manual........................................................................10Conventions used in this manual......................................................................................................... 10
IMPORTANT NOTES .............................................................................11
Front and rear panels ...........................................................................12Front panel ................................................................................................................................................ 12
Connecting a guitar....................................................................................................................... 14Connecting a keyboard ................................................................................................................ 15Connecting a mic........................................................................................................................... 15Connecting to the send/return of a mixer................................................................................. 16Connecting an expression pedal or foot switch........................................................................ 16
Turning on the power, and standby .................................................................................................... 17Turning on the power................................................................................................................... 17Adjusting the Input Level ............................................................................................................ 17
Selecting the effect sound...................................................................................................................... 18About the Screen Indications....................................................................................................... 18Selecting a patch............................................................................................................................ 18Quickly finding the desired patch (Category Search) ............................................................. 19Selecting Patches with a Foot Switch ......................................................................................... 20
Tuning your instrument......................................................................................................................... 22Displaying the tuner ..................................................................................................................... 22About the tuner display ............................................................................................................... 23Tuning Procedure ......................................................................................................................... 23Modifying the tuner settings (Standard pitch/Volume)......................................................... 24
Adjusting the display contrast.............................................................................................................. 24
Section 2. Creating Sounds .................................................................25Before You Begin Creating Sounds ..................................................................................................... 25
User banks and preset banks....................................................................................................... 25Algorithms ..................................................................................................................................... 25Settings that are stored in a patch............................................................................................... 25The display screen......................................................................................................................... 25
Rapidly editing a patch (Quick Setting) ............................................................................................. 26
Editing a patch ......................................................................................................................................... 27About display selection................................................................................................................ 27Procedure ....................................................................................................................................... 27Copying a patch ............................................................................................................................ 28Turning an effect on/off .............................................................................................................. 28Editing the settings of each effect ............................................................................................... 29Changing the order of the effects................................................................................................ 30Checking the input/output levels of each effect ...................................................................... 31Copying effect settings (Effect Copy)......................................................................................... 32
4
Setting the output level ................................................................................................................ 32Controlling parameters in real time (Control Assign)............................................................. 33Assigning the category................................................................................................................. 37Editing the patch name ................................................................................................................ 37Canceling your edits ..................................................................................................................... 38Saving the changes you make (the Write operation) ............................................................... 38
Ways to use control assign..................................................................................................................... 39Using an expression pedal ........................................................................................................... 39Using two foot switches ............................................................................................................... 40Using an expression pedal (example) ........................................................................................ 41
Section 4. Effect guide .........................................................................47About the algorithm list......................................................................................................................... 47
About POSITION .......................................................................................................................... 47About “The function of each parameter” ........................................................................................... 47
About MOD.............................................................................................................................................. 47MOD parameters........................................................................................................................... 47
About SFX ................................................................................................................................................. 48SFX parameters.............................................................................................................................. 48
About FV (foot volume) ......................................................................................................................... 48
About DELAY, MultiTAP DELAY and STEREO PS DLY .............................................................. 48
Algorithm list.........................................................................................49PB1 GUITAR MULTI 1 ......................................................................................................................... 49
PB2 GUITAR MULTI 2 ......................................................................................................................... 52
PB3 BASS MULTI .................................................................................................................................. 54
PB4 ACOUSTIC MULTI ....................................................................................................................... 56
The function of each parameter ..........................................................912x2 CHORUS............................................................................................................................................ 91
OVER DRIVE......................................................................................................................................... 108
Before using RSS................................................................................................................................... 121
Section 5. Using MIDI to Operate the VF-1 .......................................122What you can do using MIDI.............................................................................................................. 122
Making settings ..................................................................................................................................... 122Setting the MIDI channel ........................................................................................................... 123Setting the Omni mode .............................................................................................................. 123Setting the Device ID .................................................................................................................. 123
Program Change Map Settings ........................................................................................................... 124Making settings ........................................................................................................................... 124
Transmitting VF-1 data (Bulk Dump) ............................................................................................... 125Connections.................................................................................................................................. 125Transmission Procedure............................................................................................................. 125
Restoring data from a Sequencer to the VF-1 (Bulk Load)............................................................ 126Connections.................................................................................................................................. 126Reception procedure................................................................................................................... 126
7
Section 6. Appendices........................................................................127About the VF-1’s digital output.......................................................................................................... 127
Digital output signal ................................................................................................................... 127Connecting the VF-1 to a digital audio device........................................................................ 127Digital OUT specifications......................................................................................................... 127
VF-1 operation using the FC-200 ........................................................................................................ 127VF-1 and FC-200 connections .................................................................................................... 127Selecting Patches from the FC-200............................................................................................ 128Control Assign operations using the FC-200 .......................................................................... 129
VF-1 operation using the FC-50 .......................................................................................................... 130Connecting the VF-1 and FC-50 ................................................................................................ 130Controlling the VF-1 from the FC-50........................................................................................ 130
About MIDI............................................................................................................................................ 131How MIDI messages are transmitted and received............................................................... 131Main types of MIDI message used by the VF-1...................................................................... 132About the MIDI Implementation Chart................................................................................... 132
Restoring the factory settings (Factory Reset).................................................................................. 133
Versatile algorithms and high-quality sound that rivals dedicated professional equipmentThe VF-1 provides 46 effects, and 36 algorithms (effects
combinations).
A variety of simulations including preamp / speaker
simulators produced by COSM as well as a rich array of
effects such as reverb and chorus are provided.
It features 24 bit AD/DA conversion, and uses high-speed,
custom DPS to ensure quality that rivals expensive
professional equipment. It is a perfect match for any
instrument, and is ideal for use with any instrument, even for
serious recording efforts.
Algorithms and effect settings can be saved as patches.
In addition to 200 preset patches, the VF-1 allows you to
create 200 user patches.
Rapid searching by categoryEach patch is classified by a category such as guitar or vocal,
etc. You can use the Category Search function to rapidly find
the desired patch. (p.19)
Graphic LCDThe front panel of the VF-1 features a graphic LCD for easy
and highly visual editing.
Quick settingA preset setting is provided for each edit function. You can
easily create the desired effect sound simply by selecting the
preset setting for the function (effect) you wish to use. (p.26)
Guitar input jackThe front panel provides a high impedance input jack for
direct connection of an electric guitar. (p.12)
Built-in tuner functionThe VF-1 contains a chromatic tuner function. (p.22)
Realtime parameter controlParameters can be controlled from a foot switch or
expression pedal, or via MIDI messages. (p.33)
2-IN, 2-OUTThe VF-1 supports stereo input and output. You can apply
effects without impairing the stereo input image, or apply
two independent effects in parallel. (p.13)
Mountable in a 19-inch rackA separately sold rack mount adapter (RAD-50) allows the
VF-1 to be mounted in a standard 19-inch rack.
Digital out connectorA coaxial type digital output is provided, allowing
connection to another digital device with no sacrifice in
audio quality. (p.127)
COSM (Composite Object Sound Modeling)Once a musical instrument generates sound vibrations, it
reaches the human ear through various mediating
objects, each of which signi-ficantly affects the sound.
The material and configuration of the instrument, the
electric/electronic/magnetic amplifying system, the air
and the reverbration of the room all affect the final
sound. Sound modeling, the latest DSP technology,
“Virtually” reconstructs these objects. Roland’s
breakthrough Composite Object Sound Modeling
(COSM) uses the advantages of multiple modeling
methods and succeeds in accurately emulating existing
sounds, as well as producing sounds that have never
before been created.
9
How to use this manual
This manual is broadly organized into six sections, covering the operations and functions that you will use for normal performance, as well as how to make various settings. Please read the sections consecutively.An alphabetical index is provided at the end of the manual. Please refer to the index if you come across any unfamiliar term.
Section 1.Producing Sound
This section explains basic operation of the VF-1, including connections with external devices and how to change patches.
Section 2.Creating Sounds
This section explains how to modify the effect settings, and how to use various functions.
Section 3.Overall Settings (Utility)
This section explains settings that affect the overall operation of the VF-1, such as how to use the tuner, and how to make system settings.
Section 4.Effect Guide
This section explains the effects and algorithms of the VF-1, and what they do.
Section 5. Using MIDI to Operate the VF-1
This section explains the settings used when controlling the VF-1 from an external MIDI device, and operations using MIDI to exchange data.
Section 6. Appendices
This section explains operations when using the FC-200 MIDI foot controller (sold separately).It also provides information that will help you get the most out of the VF-1, how to restore the factory settings, and troubleshooting.
Conventions used in this manual
For clarity in explaining operations, the following conventions are used in this manual.
Words or symbols enclosed in square brackets [ ] indicate buttons or knobs on the front panel.Example[UTILITY] Utility buttonPARAMETER [ ][ ] Parameter buttons
The following controls and jacks are indicated as follows.fig.0-04Rotate the knob –>
[INPUT L/R]Press the knob –>
[POWER]
fig.0-05
Rotate the knob –>[NUMBER] or [VALUE]
Press the knob –>[EFFECTS] or [ENTER]
fig.0-06Connect the expression pedal –>
EXP PEDAL jackConnect the foot switch –>
CTL 1,2 jack
10
IMPORTANT NOTES
291a
In addition to the items listed under “USING THE UNIT SAFELY” on page 2–3, please read and observe the following:
Power Supply301• Do not use this unit on the same power circuit with any
device that will generate line noise (such as an electric motor or variable lighting system).
302• The AC adaptor will begin to generate heat after long
hours of consecutive use. This is normal, and is not a cause for concern.
307• Before connecting this unit to other devices, turn off the
power to all units. This will help prevent malfunctions and/or damage to speakers or other devices.
Placement351• Using the unit near power amplifiers (or other equipment
containing large power transformers) may induce hum. To alleviate the problem, change the orientation of this unit; or move it farther away from the source of inter-ference.
352• This device may interfere with radio and television
reception. Do not use this device in the vicinity of such receivers.
355• To avoid possible breakdown, do not use the unit in a wet
area, such as an area exposed to rain or other moisture.
Maintenance401a• For everyday cleaning wipe the unit with a soft, dry cloth
or one that has been slightly dampened with water. To remove stubborn dirt, use a cloth impregnated with a mild, non-abrasive detergent. Afterwards, be sure to wipe the unit thoroughly with a soft, dry cloth.
402• Never use benzine, thinners, alcohol or solvents of any
kind, to avoid the possibility of discoloration and/or deformation.
Additional Precautions551• Please be aware that the contents of memory can be
irretrievably lost as a result of a malfunction, or the improper operation of the unit. To protect yourself against the risk of loosing important data, we recommend that you periodically save a backup copy of important data you have stored in the unit’s memory in another MIDI device (e.g., a sequencer).
552• Unfortunately, it may be impossible to restore the contents
of data that was stored in another MIDI device (e.g., a sequencer) once it has been lost. Roland Corporation assumes no liability concerning such loss of data.
553• Use a reasonable amount of care when using the unit’s
buttons, sliders, or other controls; and when using its jacks and connectors. Rough handling can lead to malfunctions.
554• Never strike or apply strong pressure to the display.
556• When connecting / disconnecting all cables, grasp the
connector itself—never pull on the cable. This way you will avoid causing shorts, or damage to the cable’s internal elements.
558a• To avoid disturbing your neighbors, try to keep the unit’s
volume at reasonable levels. You may prefer to use headphones, so you do not need to be concerned about those around you (especially when it is late at night).
559• When you need to transport the unit, package it in the box
(including padding) that it came in, if possible. Otherwise, you will need to use equivalent packaging materials.
561• Use only the specified expression pedal (BOSS FV-
300L+PCS-33 (Roland) or EV-5 (Roland); sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.
562• Use a cable from Roland to make the connection. If using
some other make of connection cable, please note the following precautions.
• Some connection cables contain resistors. Do not use cables that incorporate resistors for connecting to this unit. The use of such cables can cause the sound level to be extremely low, or impossible to hear. For infor-mation on cable specifications, contact the manufac-turer of the cable.
11
Front and rear panels
Front panel
fig.0-001
(1) POWER/INPUT (L/R)Power switch/Input level knob (L/R)Pressing this knob will turn the power on/off. Rotating the
knob will adjust the input level. The input level can be
adjusted separately for left and right.
(2) GUITAR (Hi-Z)Guitar jackThis is an input jack for guitar (high impedance).
(3) DisplayThis is where the VF-1 displays various information, such as
the current state of settings.
(4) UTILITYUtility buttonPress this when you wish to make system settings, use the
tuning function, or make MIDI-related settings.
(5) WRITEWrite buttonPress this when you wish to save or copy effect settings.
(6) EXITExit buttonBy pressing this button you can cancel a parameter setting
and return to the performance screen.
(7) CATEGORYCategory buttonPress this button when you wish to search by category.
(8) PARAMETER ( / )Parameter buttonsUse these buttons to select the parameter whose value you
wish to change. When you press these buttons, the cursor
will move between parameter or setting locations in the
display.
(9) NUMBER/VALUE, EFFECTS/ENTERNumber/Value knob, Effects/Enter buttonBy rotating the knob, you can select patch numbers or
modify parameter values.
By pressing the knob, you can switch effects on/off, or
finalize a value.
(1)
(2)
(3) (4) (5) (6)
(7) (8)
(9)
12
Front and rear panels
Rear panel
fig.0-002
(10) AC Adapter jackConnect the included AC adapter to this jack.
(11) MIDI IN/OUTMIDI connectors (in/out)An external MIDI device can be connected here to transmit/
receive MIDI messages to/from the VF-1. Use a MIDI cable
(sold separately) to make connections.
(12) EXP PEDAL/CTL 1,2 Expression pedal/Control 1,2 jackEither an expression pedal or a foot switch can be connected
here, and used to step up/down through patch numbers, or
for realtime control of parameters. If a Roland PCS-31 (sold
separately) is used, you can use its two foot switches to
simultaneously control different parameters.
(13) DIGITAL OUTPUTDigital output connector (coaxial)A digital audio signal is output from this connector.
Use a video cable (75 Ω unbalanced) to make connections.
(14) OUTPUT L (MONO) /ROutput jacksThese are the output jacks for the audio signal. Connect them
to your amp or mixer.
Use audio cables (separately sold) to make connections.
(15) LEVELLevel switchSwitch simultaneously regular input and output.
(16) INPUT L (MONO) /RInput jacksThese are the audio input jacks. Connect them to a keyboard
or the like.
(17) Cord HookTo prevent the AC adapter cord from being accidentally
disconnected, wrap the cord around this hook.
* If you wish to attach the rack mount adapter (RAD-50; sold
separately), refer to the manual of the rack mount adapter
(RAD-50).
* If you will be using the VF-1 by itself, without using the rack
mount adapter (RAD-50; sold separately), attach the included
rubber feet as shown in the diagram.
fig.0-03
(10) (11) (12) (13) (14) (15) (16)
(17)
13
Section 1. Producing Sound
Making connections
Make connections as follows, depending on how you will be using the VF-1.
To prevent malfunction and/or damage to speakers or other devices, always turn down the volume, and turn off the power on all devices before making any connections.
* To output in monaural, connect a cable to only the OUTPUT L
(MONO) jack.
* There are three input jacks: the GUITAR jack, and the INPUT L
(MONO) / R jacks. If you make connections both to the
GUITAR jack and to the INPUT L (MONO) jack, the input
from the GUITAR jack will be given priority.
* To prevent the inadvertent disruption of power to your unit
(should the plug be pulled out accidentally), and to avoid
applying undue stress to the AC adaptor jack, anchor the power
cord using the cord hook, as shown in the illustration.
fig.1-02
Connecting a guitar* When connecting a guitar, you will normally make connections
to the front panel GUITAR jack.
* If you will be outputting in mono, use the OUTPUT L
(MONO) jack to make connections.
* Normally you should set the LEVEL switch to -20 dBm.
fig.1-03
Guitar amplifiers
You can set the VF-1 to obtain optimal sound with the amp that you use.For details refer to “GLOBAL SOUND SETTING” (p.45).
14
Section 1. Producing Sound
Section 1
Connecting a keyboard* Normally you should set the LEVEL switch to -20 dBm.
* When inputting in mono, make connections to the INPUT L
(MONO) jack.
* When outputting in mono, make connections to the OUTPUT L
(MONO) jack.
fig.1-04
Connecting a mic* Set the LEVEL switch to match the level of the mixer to which
the VF-1 is connected.
fig.1-42
Howling could be produced depending on the location of mics relative to speakers. This can be remedied by:
1. Changing the orientation of the mic(s).
2. Relocating mic(s) at a greater distance from speakers.
3. Lowering volume levels.Mixer
INPUT R INPUT L
Keyboard
OUTPUT R OUTPUT L
Mixer
Microphone
RETURNINPUT
SEND
15
Section 1. Producing Sound
Connecting to the send/return of a mixer* Set the LEVEL switch to match the level of the mixer to which
the VF-1 is connected.
* If the VF-1 is connected to a send/return loop, set EFFECTS
OFF MD (Effect Off mode) to “MUTE” (p.43) and DIRECT
MIX to “OFF” (p.46).
fig.1-05
Connecting an expression pedal or foot switchfig.1-06a
Use only the specified expression pedal (BOSS FV-300L + PCS-33 (Roland) or EV-5 (Roland); sold separately). By connecting any other expression pedals, you risk causing malfunction and/or damage to the unit.
* Set the minimum volume on the expression pedal connected to
the EXP PEDAL jack to the “MIN” position. Unless the
minimum volume is set to “MIN,” the expression pedal will not
work correctly.
fig.1-06b
* If connecting a footswitch to the CTL 1/2 jack, set the polarity
switch as shown below. Unless the polarity switch is set
correctly, the foot switch will not work properly.
fig.1-06c
Mixer
RETURN SENDFoot switch
FS-5U / FS-5Letc.
Expression pedalEV-5 etc.
Roland
Minimumvolume
Polarity switch
16
Section 1. Producing Sound
Section 1
Turning on the power, and standbyIn order to take full advantage of the VF-1’s potential, be sure to adjust the input/output levels after turning on the power.
Turning on the powerOnce the connections have been completed (p. 14–16), turn on power to your various devices in the order specified. By turning on devices in the wrong order, you risk causing malfunction and/or damage to speakers and other devices.
1. Before turning on the power, check the following points.
• Have connections with external devices been made correctly?
• Has the volume been turned completely down on the VF-1 and on the connected amp, etc.?
2. Turn on the power on the sound generating device (keyboard or other device).
3. Press the VF-1’s [POWER] switch to turn on the power.The following display will appear, and after several seconds, the VF-1 will be ready for normal playing. This display is referred to as the “Play mode.”fig.1-07
This unit is equipped with a protection circuit. A brief interval (a few seconds) after power up is required before the unit will operate normally.
* When the power is turned on, the last-selected Patch number
will be selected.
* Depending on the location where the VF-1 is placed, the display
may be difficult to read. In this case, adjust the display contrast
(P.24).
4. Turn on the power of your other equipment in the order of effect processors –> mixer –> amp.
Turn up the amp volume only after all devices have been powered on.
Turning off the power1. Before turning off the power, check the following points.
• Has the volume of the connected amp, etc. been turned completed down?
2. Turn off the power in the order of amp –> mixer –> other effect processors.
3. Press the [POWER] switch of the VF-1 to turn off the power.
4. Turn off the power on your sound generating devices (keyboard or other device).
Adjusting the Input LevelAdjust the signal from the input device to an appropriate level.fig.1-08
1. Rotate [INPUT L/R] to adjust the input level.
Adjust this so that the level meter briefly reaches the peak level when the instrument is played most loudly.fig.1-09
* If the input level is not set appropriately, the VF-1 will not
perform to its full potential.
* Even though [INPUT L/R] is turned all the way down, the
input level may not be “0.”
* If the level switch is set to the “-20 dBm” position and the level
meter occasionally reaches the peak level even though [INPUT
L/R] has been turned all the way down, change the level switch
to the “+4 dBm” position.
fig.1-10
1
Peak Level
17
Section 1. Producing Sound
Selecting the effect sound
The VF-1 contains 400 effect settings covering a wide range of sounds. Each of these is called a Patch. The 400 patches are organized into four banks, each with 100 patches numbered 1–100.To select the desired patch, you can operate the front panel or an external MIDI device to switch banks and patch numbers.
A “bank” contains 100 patches. There are four banks: Preset
banks A and B, and User banks A and B.
Patches can be selected only when the screen display is in Play mode (showing the patch number).If the display is not in Play mode, press [EXIT] several times to select Play mode.
About the Screen Indicationsfig.1-13
(1) Level meter:In Play mode, this shows the level of the input signal. When you are making effect settings, this shows the level of the input signal and the output levels from each effect (p.17, 31).
(2) EFFECTS On/OFF:This shows the status (on/off (bypass/mute)) of each effect.
(3) Bank:This shows the currently selected bank.
(4) Patch number:This shows the number of the currently selected patch.
(5) Category:This shows the category of the currently selected patch.
* When the category switch is off (when the display indicates
“CATEGORY OFF”), the categories will not be displayed.
(6) Category search on/off:This shows the status (on/off) of Category Search.
(7) Algorithm name:This shows the algorithm of the currently selected patch.
(8) Patch name:This shows the name of the currently selected patch.
(9) MIDI indicator:This indicator will light when the VF-1 is receiving MIDI messages.
Selecting a patchfig.1-14
1. Make sure that the display indicates “CATEGORY OFF.”
If it indicates “CATEGORY On,” press [EXIT] to make it read “CATEGORY OFF.”fig.1-15
2. Rotate [NUMBER] to select the desired patch.The selected patch will appear in the display.Rotating the knob toward the right will move through the patches in increasing order of patch number, and rotating it toward the left will move in decreasing order.If you hold down [CATEGORY] as you rotate [NUMBER], the setting will change more rapidly.
Banks will change as follows.Rotate to the right:
Preset A –> Preset B –> User A –> User B–> Preset A...Rotate to the left:
Preset A –> User B –> User A –> Preset B –> Preset A...
* It is not possible to switch patches if the VF-1 is not in Play
mode.
* If the display indicates “CATEGORY On,” the Category Search
function (see following item) is operating, so that not all patch
numbers can be accessed in sequence by rotating [NUMBER].
(1)
(2)(3) (5) (6)
(7)
(8)
(9)
(4)
1 2
18
Section 1. Producing Sound
Section 1
Quickly finding the desired patch (Category Search)The VF-1 classifies all patches by category (such as performance style or instrument).The VF-1 provides a Category Search function that lets you select a category so that only the patches in that category are displayed. By using this function, you can view only the patches of the currently selected category, and rapidly find the patch you want.The following categories are provided.fig.1-16
* “OTHERS1,” “OTHERS2,” and “OTHERS3” are user
categories. You can use them to categorize your own favorite
patches. For details refer to “Assigning the category” (p.37).
* With the factory settings, none of the patches are assigned to
“OTHERS1,” “OTHERS2,” or “OTHERS3” categories.
fig.1-17
1. Press [CATEGORY] to select Category Search.
2. Rotate [NUMBER] to select the desired category.If you press [EXIT] at this point, you will return to Play mode.
* Category search can be performed only from the front panel.
* Since the category display is not able to show all categories in a
single screen, it is divided into several screens. Rotating
[NUMBER] to move through the screens and select from all 18
different categories.
* You can use PARAMETER [ ][ ] to switch screens.
The current location is shown by the indicator at the right edge of the screen.fig.1-18a
fig.1-18b
fig.1-18c
3. Press [ENTER].This finalizes the category.
4. Rotate [NUMBER] to select the desired patch.If you press [EXIT] at this point, you will return to step 2.fig.1-19
1. E.GUITAR
2. A.GUITAR
3. BASS
4. KEYBOARD
5. VOCAL
6. GROOVE
7. REVERB
8. RSS
9. STUDIO
10. MASTER
11. OTHERS1
12. OTHERS2
13. OTHERS3
14. ALL
15. PRESET-A
16. PRESET-B
17. USER-A
18. USER-B
1
2,3,4,5
19
Section 1. Producing Sound
5. Press [ENTER].The selected patch will be recalled, and you will return to Play mode.At this time, the display will show the symbol of the selected category, and will indicate “CATEGORY On.”Now you can rotate [NUMBER] to select other patches of the same category.fig.1-20
* If you select “ALL” as the category, no category symbol will
appear, and the display will indicate “CATEGORY OFF.” In
this case, rotating [NUMBER] will select from all patches.
* After you have finished with Category Search, and
wish to select from all patches, press [EXIT] to make
the display read “CATEGORY OFF.”
Selecting Patches with a Foot SwitchIf an FS-5U foot switch (optional) is connected to the CTL 1/2 jack, you can change Patch numbers by operating the foot switch.
When connecting only one foot switchIf you use only one foot switch, you can use it to move either up or down (not both) through the Patch numbers.fig.1-21
When using two foot switchesIf you use a special cable (PCS-31; optional) to connect two foot switches, you can operate the foot switches to select patches in the same way as when rotating the [NUMBER] knob.fig.1-22
CONTROL 1Foot switch
FS-5U
Polarity switch
CONTROL 1Foot switch FS-5U
Cord: ROLAND PCS-31 (optional)
redwhite
CONTROL 2
Polarity switch
20
Section 1. Producing Sound
Section 1
fig.1-23
1. Press [UTILITY].
2. Rotate [VALUE] to select “SYSTEM.”fig.1-24
3. Press [ENTER].
4. Use PARAMETER [ ][ ] to access the following screen, and select “NUMBER U/D MIN.”
fig.1-25
5. Rotate [VALUE] to select “PA 1.”
6. Use PARAMETER [ ][ ] to select “NUMBER U/D MAX.”
7. Rotate [VALUE] to select “UB100.”
8. Use PARAMETER [ ][ ] to access the following screen, and select “CONTROL 1.”
9. Rotate [VALUE] to select “NUMBER UP (DOWN).”fig.1-26
10. Use PARAMETER [ ][ ] to select “CONTROL 2.”
11. Rotate [VALUE] to select “NUMBER DOWN (UP).”
* If you are using only one foot switch, this setting will have no
effect.
12. Press [UTILITY] to return to Play mode.
* If you press [EXIT] in step 12, you will return to step 2. If you
press [EXIT] once again, you will return to Play mode.
* In Play mode when the display indicates “CATEGORY On,”
you can step through patches of the same category. If you press
[EXIT] in Play mode, the display will indicate “CATEGORY
OFF,” and you will be able to step through the range of patches
that you specified by the “NUMBER U/D MIN” and
“NUMBER U/D MAX” settings.
When using only one foot switch:Each time you press the foot switch, the patch number will increase.
* If in step 8 you selected “NUMBER DOWN,” the patch
number will decrease.
* If you have connected only one pedal, the “CONTROL 2”
setting will have no effect.
* You can change the range of patch numbers that are selected
when you press the foot pedal. For details refer to “SYSTEM
SETTING” (p.43).
When using two foot switches:Each time you press CONTROL 1, the patch number will increase. Each time you press CONTROL 2, the patch number will decrease.
* If in steps 8 and 10 you select “NUMBER UP” and
“NUMBER DOWN” in reverse, the result of pressing
CONTROL 1 and CONTROL 2 will also be reversed.
1,12
4,6,8,10
2,3,5,7,9,11
•Selecting Effect Sounds with an FC-200 MIDI Foot Controller
If an FC-200 MIDI Foot Controller (optional) is connected, you can switch Patch numbers by pedal operations on the controller. For details refer to “VF-1 operation using the FC-200” (P.127).
•Selecting Effect Sounds by MIDI MessagesVF-1 Patches can be selected by Program Change messages from an external MIDI device. For details refer to “Using MIDI to Operate the VF-1” (p.122).
21
Section 1. Producing Sound
Switching EFFECTS on/off
You can switch the effect sound on/off. When EFFECTS is turned off, the input sound will be output without change, and no effect will be applied. If you wish to output only the direct sound, turn EFFECTS OFF.fig.1-27
1. In Play mode, press [EFFECTS].
The EFFECTS on/off status will change.When EFFECTS is turned off, the display will indicate “EFFECTS OFF.”fig.1-28
Tuning your instrument
The VF-1 has a built-in chromatic tuner. You can tune your instrument quickly without having to change connections.The built-in tuner can display the note names, and also allows you to adjust the standard pitch and the output level during tuning.
Displaying the tunerfig.1-29
1. Press [UTILITY].
2. Rotate [VALUE] to select “TUNER.”fig.1-30
3. Press [ENTER].The following display will appear.fig.1-31
4. Press [UTILITY] to return to Play mode.With the factory settings, the input sound will be muted (silenced) when the tuner is in use, and the input sound from the input jack (i.e., your guitar or bass) will not be output.
* If you press [EXIT] in step 4, you will return to step 2. If you
press [EXIT] once again, you will return to Play mode.
1
The EFFECTS on/off function can be changed to a Mute (silence) function.For details refer to “SYSTEM SETTING” (p.43).
If a separately available BOSS FS-5U foot switch is connected, you can switch EFFECTS on/off in two ways.For details refer to “SYSTEM SETTING” (p.43).
If an FC-200 MIDI foot controller (optional) is connected, you can use pedal operations to switch EFFECTS on/off. For details refer to “VF-1 operation using the FC-200” (p.127).
MIDI Control Change messages can be used to switch EFFECTS on/off. For details refer to “Controlling parameters in real time (Control Assign)” (p.33), and “Using MIDI to control the VF-1.” (p.122)
1,4 2,3
22
Section 1. Producing Sound
Section 1
About the tuner displayThe tuner display includes the following contents.fig.1-32
Tuning Procedure1. Play a single unfretted note on the string you wish to tune.
The note name closest to the string you played will appear in the display.
* Cleanly play a single note only on the string that you wish to
tune.
2. Adjust the tuning until the note name of the string you played appears in the display.
fig.1-33
3. Watch the tuning guide, and tune your instrument so that both the left and right guides light.
If the difference between the instrument and the correct tuning is within +/-50 cents, the tuning guide will indicate the amount of difference.For example if the right-hand indicator is lit, your instrument is tuned above the displayed note (sharp). If the left-hand indicator is lit, your instrument is tuned below the displayed note (flat).fig.1-34
fig.1-35
fig.1-36
4. Repeat steps 1–3 to tune all the strings.
* When tuning a guitar that has a tremolo arm, tuning one string
may cause the other strings to go out of tune. In such cases, first
tune the strings to the approximate pitch (so that the note name
is displayed), and then keep tuning each string until they are all
in tune.
It is also possible to output the direct sound even while the tuner is being used.For details refer to “Modifying the tuner settings” (p.24).
If an FS-5U is connected to the CTL 1/2 jack, you can switch the TUNER on/off with the foot switch.For details refer to “SYSTEM SETTING” (p.43).
If an FC-200 MIDI Foot Controller (optional) is connected, you can switch the tuner on/off by pedal operations on the controller. For details refer to “VF-1 operation using the FC-200” (p.127).
MIDI Control Change messages can be used to switch the Tuner on/off.For details refer to “Controlling parameters in real time (Control Assign)” (p.33), and “Using MIDI to control the VF-1.” (p.122)
Tuning guide
Standard pitch(TUNER PITCH)
Volume(TUNER LEVEL)
Note name
6thstring
5thstring
4thstring
3rdstring
2ndstring
1ststring
Eguitar A D G B E
guitar tuning
your instrument is tuned above the displayed note ( )
your instrument is tuned below the displayed note ( )
your instrument is tuned the displayed note
23
Section 1. Producing Sound
Modifying the tuner settings (Standard pitch/Volume)Here you can make tuner settings. Make settings as appropriate for the way that you wish to use this function. The following items can be set.• Standard pitch setting• Volume setting during tuningfig.1-37
1. Press [UTILITY].
2. Rotate [NUMBER] to select “TUNER.”
3. Press [ENTER].
4. Use PARAMETER [ ][ ] to move the cursor to “PITCH” if you wish to change the standard pitch, or to “LEVEL” if you wish to change the volume.
5. Rotate [VALUE] to modify the setting.If you hold down [CATEGORY] as you rotate [VALUE], the setting will change more rapidly.
fig.1-38
TUNER PITCH: 435–445 (Hz)“Standard pitch” is the frequency of the A4 note (middle A on a piano) that is used as a standard to which all other notes are tuned. The VF-1 allows you to set the standard pitch over the range of 435–455 Hz.
* At the factory settings, this is set to 440 Hz.
TUNER LEVEL: MUTE, 1–100 Adjust the volume while tuning.
* With the factory settings, “MUTE” is selected.
6. Press [UTILITY] to return to Play mode.
Adjusting the display contrast
Depending on the location where you place the VF-1, the display may be difficult to read. In this case, adjust the display contrast.fig.1-39
1. Press [UTILITY].
2. Rotate [VALUE] to select “SYSTEM.”fig.1-40
3. Press [ENTER].
4. Use PARAMETER [ ][ ] to select “CONTRAST.”fig.1-41
5. Rotate [VALUE] to adjust the contrast (1–16).If you hold down [CATEGORY] while you rotate [VALUE], the setting will change more rapidly.
6. Press [UTILITY] to return to Play mode.
* If you press [EXIT] in step 6, you will return to step 2. If you
press [EXIT] once again, you will return to Play mode.
1,6
4
2,3,5
TUNER PITCH TUNER LEVEL
1,6
4
2,3,5
24
Section 2. Creating Sounds
Sectio
n 2
On the VF-1, each of the different effect sounds are called
“patches.” A patch consists of settings that specify the order
in which the internal effects are connected, and the settings
for each effect. The internal memory of the VF-1 contains 400
patches. This section explains how you can modify (edit)
patch settings to create new effect sounds, and save them.
Before You Begin Creating Sounds
Before you begin creating sounds there are several things
that you need to understand.
User banks and preset banksThe 400 patches of the VF-1 are organized into user banks
and preset banks.
User banksUser banks can store original patches that you create.
There are two user banks, A and B, and each can store 100
patches.
Preset banksPreset banks contain preset patches that are useful for a wide
variety of situations and needs.
There are two preset banks, A and B, and each can store 100
patches.
* It is not possible to rewrite the contents of a patch in the preset
banks. Nor is it possible to save an original patch in a preset
bank. However, you can edit a patch from a preset bank to create
a new patch, and save it in a user bank.
AlgorithmsThe “algorithm” determines how effects are connected
internally, and how their parameters are structured. The VF-
1 provides 36 different algorithms (PB1–36).
Each algorithm is designed to be useful in an actual situation,
and provides an ideal setup for that situation. This makes
editing easy and efficient. Individual effects within an
algorithm can also be switched on/off, and you can change
the order in which they are connected.
Settings that are stored in a patchEach patch in the user banks contains the following settings.
• On/off of each effects processor
• Settings for each effects processor
• Output level / BPM setting
• Category setting
• Control assign (4 types)
• Name
The display screenDuring editing, the following information is shown in the
display.
Algorithm displayfig.2-01
When a parameter value is being editedfig.2-02
When [EXIT] was pressed to display Play modefig.2-03
An underline is added to the patch number to indicate that
the patch is being edited (modified).
Name of the effect being edited
25
Section 2. Creating Sounds
Rapidly editing a patch (Quick Setting)
Each effect of the VF-1 provides various preset settings
(effect settings). You can easily create new effect sounds
simply by selecting these settings and combining them. This
is called the Quick Setting function.
fig.2-04
1. In Play mode, press PARAMETER [ ].
The following algorithm display screen will appear.
fig.2-05
2. Rotate [VALUE] to select the effect for which you wish to
use Quick Setting.
To move more rapidly between effects, hold down
[CATEGORY] and rotate [VALUE].
3. Use PARAMETER [ ] to move the cursor to the effect
on/off display.
fig.2-06
4. Rotate [VALUE] to make the display read “ON.”
fig.2-07
5. In the condition of step 4, continue rotating the [VALUE]
knob to select the desired effect setting.
As you rotate [VALUE], the effect setting will change as
follows.
Listen to the sound, and select the desired setting.
fig.2-08
6. When you are finished making settings, press [EXIT].
7. Rotate [VALUE] to move the another effect.
8. Repeat steps 3–7 as necessary to complete the desired
effect settings.
The patch settings you modify are temporary, and will be
lost if you select a different patch without writing the edited
patch into memory. If you wish to keep the newly created
patch, use the “Write operation (p.38)”.
2,4,5,7
1,3
6
Effectsetting
26
Section 2. Creating Sounds
Section 2
Editing a patch
About display selectionThe display will response as follows in patch creation:
fig.2-200
• Pressing PARAMETER [ ] and [ ] will change
displays.
• Pressing [EXIT] in the selected display (except the
Algorithm display) will retrieve the Algorithm display.
• Rotating [NUMBER] in the Algorithm display will allow
you to move between the effects which are being
shown in the display.
The Skip function (SKIP)If you wish to change displays rapidly, press the
PARAMETER ([ ] or [ ]) which you wish to move to
then press the opposite one ([ ] or [ ]) at the same
time.
ProcedureHere’s the basic procedure for creating a patch.
1. From the user bank or preset bank, select a patch that is
similar to the effect sound that you wish to create.
* You cannot alter the Algorithm that is used in the patch
currently selected.
2. Copy the contents of the selected Patch to an unneeded
Patch number. (p. 28)
• In Play mode, press [WRITE] to copy the patch.
3. Edit (modify) the patch that you copied.
• Turn each effect on/off. (p. 28)
Press PARAMETER [ ] to display the algorithm, use
[VALUE] to select the effect that you wish to turn on/off,
and use [ENTER] to turn it on/off.
• Edit the settings of each effect. (p. 29)
• Change the order of the effects. (p. 30)
• Use PARAMETER [ ] [ ] to select the parameter
that you wish to edit, and use [VALUE] to modify the
value.
4. Assign a name to the new patch. (p. 37)
• Use PARAMETER [ ] [ ] to select “NAME,” and
use PARAMETER [ ] [ ] and [VALUE] to assign
the name.
5. Save the new patch in a user bank. (p. 38)
• In the Edit screen, press [WRITE], use [VALUE] to select
the patch number into which the currently-edited patch
will be stored, and press [WRITE].
The modified settings of the new effect sound are temporary,
and will be lost if you select another Patch. If you want to
save your new Patch, use “the Write operation” (P.38) to
store it.
* If you turn off the power while effect settings are being stored,
the VF-1 may malfunction.
[EXIT]
MasterAlgorithmAssign1–4
Category Patchname
Effectparameter
Effectparameter
[EXIT] [EXIT] [EXIT] [EXIT] [EXIT]
Playmode
[ ] PARAMETER PARAMETER [ ]
[EXIT]
27
Section 2. Creating Sounds
Copying a patchHere’s how to copy the settings of the currently selected
patch into a different patch.
It is not possible to copy to a patch in a preset bank (PA1–
PA100, PB1–PB100).
* It is not possible to copy while you are editing.
fig.2-09
1. In Play mode, press [WRITE].
2. Rotate [NUMBER] to select the copy destination patch
number.
The number will change more rapidly if you hold down
[CATEGORY] as you rotate [NUMBER].
* It is not possible to select a patch number from a preset bank.
fig.2-10
3. Press [WRITE].
After the data has been written, “Complete !” will be shown
in the display, then you are returned to Play mode.
Never turn off the power while the display shows “KEEP
POWER ON !” If the power is turned off while this display is
shown, the VF-1 may malfunction or its data may be lost.
* If you press [EXIT] in step 2, the copy operation will be
cancelled and you will return to Play mode.
Turning an effect on/offIn the algorithm of the currently selected patch, you can turn
on the effect(s) that you wish to use, and turn off any unused
effect(s).
fig.2-11
1. In Play mode, press PARAMETER [ ].
The following algorithm display screen will appear.
fig.2-12a
2. Rotate the [VALUE] knob to select the effect that you
wish to turn on/off.
To move more rapidly between effects, hold down
[CATEGORY] as you rotate [VALUE].
3. Press [EFFECTS] to turn the effect on/off.
Depending on the algorithm, some effects cannot be
switched on/off. For details refer to “Algorithm list” (p.49–
p.90).
* You can also switch an effect on/off while making effect settings
(p.29).
If you wish to keep your modified settings, you must
perform the Write operation (p.38).
1,3 2
1
2,3
Off On
28
Section 2. Creating Sounds
Section 2
Editing the settings of each effectEach effect consists of several different parameters. You can
create new effect sounds by modifying the settings of these
parameters.
fig.2-13
1. In Play mode, press PARAMETER [ ].
The following algorithm display screen will appear.
fig.2-12
2. Rotate [VALUE] to select the effect whose settings you
wish to edit.
3. Press PARAMETER [ ] to display the parameter
screen.
4. Use PARAMETER [ ][ ] to select the parameter
that you wish to edit.
< Display example >
fig.2-14a
5. Rotate [VALUE] to edit the value.
The value will change more rapidly if you hold down
[CATEGORY] while you rotate [VALUE].
6. Press [EXIT].
7. Repeat steps 2–6 to create your effect sound.
Even when another parameter is selected, you can press
[ENTER] to switch the effect on/off.
If you wish to keep your modified settings, you must
perform the Write operation (p.38).
4
2,5
1,3
6
Effect name
Parameter Value Value slider(corresponds to the value of the parameter)
Effect on/off
Level meter
The Skip function (SKIP)
You can skip to the first parameter in each effect by
holding down PARAMETER [ ] ([ ]) for the
direction in which you wish to go, and pressing the
PARAMETER [ ] ([ ]) for the opposite direction.
This is particularly useful for algorithms that have a
large number of parameters.
29
Section 2. Creating Sounds
Changing the order of the effectsFor some algorithms, you can place SFX, MOD (modulation),
and PREAMP/SP.SIM (speaker simulator) in different
locations within the algorithm.
The algorithms that allow SFX, MOD, and PREAMP/SP.SIM
to be moved are noted in the “Algorithm list” (p. 49–90).
fig.2-15
1. In Play mode, press PARAMETER [ ].
The following algorithm display screen will appear.
fig.2-16
2. Rotate [VALUE] to select the effect (SFX, MOD or
PREAMP/SP.SIM) that you wish to move.
3. Press PARAMETER [ ] several times to select
“POSITION.”
fig.2-17
4. Rotate [VALUE] to move the location of the effect.
* It is not possible to place SFX, MOD, or PREAMP/SP.SIM
after “MASTER.”
5. Press [EXIT] to access the following screen, and confirm
the new location of the effect.
fig.2-60
6. If you press [EXIT] once again, you will return to Play
mode.
If you wish to keep your settings, you must perform the
Write operation (p. 38).
5,6
1,3
2,4
30
Section 2. Creating Sounds
Section 2
Checking the input/output levels of each effectfig.2-21
The algorithm screen of each effect and the parameter setting
screen provide a meter function. The meter lets you see the
input level at the beginning of the algorithm, and the output
level of each effect.
e.x.: When you have made the DELAY parameter appear in the displayfig.2-49
* If the input and/or output levels are excessive, the desired result
will not be obtained. Check the input and output levels of each
effect, and adjust the output level appropriately. Adjust the
input level with [INPUT L/R] and check the output level of each
effect with the level meter to adjust it to an appropriate level.
The final output of the patch can be checked with the level
meter in the “MASTER” parameter setting screen.
Input L
Input R
Compressor/Limiter
Preamp/Speaker Simulator
Modulation
WAH
Delay
FV
Chorus Reverb
4BandEqualizer
NoiseSuppressor
Output L
Output R
OUTIN
31
Section 2. Creating Sounds
Copying effect settings (Effect Copy)You can copy the settings of an individual effect from
another patch to an effect in the currently selected patch. This
function is convenient when you wish to use effects with
similar settings in two or more patches.
* The Effect Copy can be applied to the effects that
share the same Algorithm.
fig.2-22
1. Use PARAMETER [ ][ ] to access the settings for
the copy-destination effect.
fig.2-61
2. With the effect settings displayed, hold down
[CATEGORY] and press [WRITE].
fig.2-23
3. Rotate [VALUE] to select the patch number that contains
the copy-source effect.
The number will change more rapidly if you hold down
[CATEGORY] as you rotate [VALUE].
4. Press [WRITE].
The effect data will be copied, and you will return to the
display screen in which you were.
If you wish to keep the modified settings, perform the Write
operation (p.38).
Setting the output levelHere’s how to adjust the final output level from the patch.
fig.2-24
1. In Play mode, press PARAMETER [ ].
The following display will appear.
fig.2-12
2. Rotate [VALUE] to select “MASTER.”
fig.2-201
3. Use PARAMETER [ ][ ] to select “MASTER
LEVEL.”
fig.2-25
4. Rotate [VALUE] to adjust output level.
The setting will change more rapidly if you hold down
[CATEGORY] as you rotate [VALUE].
Range: 0–100
* After adjusting “MASTER LEVEL,” check the output level in
the level meter (p.31).
1
32 43
2,41
32
Section 2. Creating Sounds
Section 2
Controlling parameters in real time (Control Assign)Here’s how you can make settings so that you can control
parameters from a foot switch or pedal connected to the VF-1
or from an external MIDI device. The controller that will
affect each parameter can be specified independently for
each patch.
Assign on/offFour types of control assign can be turned on/off. Turn
“ON” only the control assign setting that you wish to use. Be
sure to turn “OFF” any unused control assign settings.
fig.2-51
Parameters that can be controlledSpecify the parameter (target) you wish to control. The
following parameters can be selected as targets.
• TUNER On/Off
• EFFECTS On/Off
• MASTER LEVEL
• MASTER BPM
• FOOT VOLUME (FOOT LEVEL)
• Effect On/Off for each effect
• Effect unit parameters
* You may assign two or more controllers to control the same
target, but in this case, avoid using two of these controllers to
simultaneously modify the target parameter. This can produce
noise.
Target value rangeOperations on the external device will modify the value of
the target parameter within the range of the “minimum
(TARGET MIN)” and “maximum (TARGET MAX)” values
you specify.
For on/off-type controllers such as foot switches, “Off” will
produce the “minimum value” and “On” will produce the
“maximum value.” For continuous controllers such as
expression pedals, the value will change within the range of
the specified “minimum” and “maximum.” If the target is an
on/off type parameter, it will be switched on or off by values
above or below the central value of the controller.
fig.2-28
fig.2-29
When using the foot switchfig.2-30a
When using the expression pedalfig.2-30b
Amount of Change in parameter Value
ON
Foot Switch
OFF
maximum valueTARGET MAX
minimum valueTARGET MIN
maximum valueTARGET MAX
minimum valueTARGET MIN
When the pedal is fully advanced
When the pedal is fully raised
Expression pedal
33
Section 2. Creating Sounds
When controlling the ON/OFF target with the expression pedal:
fig.2-30c
* The range available for setting will depend on the selected
target.
* If you set the “TARGET MIN” above the “TARGET MAX,”
the direction of parameter change will be reversed.
* If after setting the “TARGET MIN” and “TARGET MAX”
values you then change the target, the settings may change.
After changing the target, check the “TARGET MIN” and
“TARGET MAX.”
The controller that will control the parameterSelection for the controller (source) that will control the
target parameter.
The following controllers can be selected as sources.
fig.2-31
ExpPEDAL:An expression pedal connected to the expression pedal jack
PRE DELAY [1] 0–300 (msec), BPM: PRE DELAY [2] 0–300 (msec), BPM:
VOICE = 2 MONO, 2 STEREOFEEDBACK 0–100LEVEL [1] 0–100LEVEL [2] 0–100 VOICE = 2 MONO, 2 STEREOKEY C (Am)–B (G#m) MODE = HARMONYDIR LEVEL 0–100POSITION Can be moved to the ( ) locations shown
in the diagram.
<FL: FLANGER>RATE 0–100, BPM: DEPTH 0–100MANUAL 0–100RESONANCE 0–100SEPARATE 0–100LEVEL 0–100POSITION Can be moved to the ( ) locations shown
in the diagram.
<PH: PHASER>TYPE 4STAGE, 8STAGE, 12STAGE, BI-PHASERATE 0–100, BPM: DEPTH 0–100MANUAL 0–100RESONANCE 0–100STEP OFF, 1–100LEVEL 0–100POSITION Can be moved to the ( ) locations shown
in the diagram.
<SEQ: SUB 4BAND EQ>LOW EQ -20–+20 (dB)HIGH EQ -20–+20 (dB)LO-MD F 100–10.0 k (Hz)LOW-MID Q 0.5–16.0LOW-MID EQ -20–+20 (dB)HI-MD F 100–10.0 k (Hz)HI-MID Q 0.5–16.0HI-MID EQ -20–+20 (dB)LEVEL -20–+20 (dB)POSITION Can be moved to the ( ) locations shown
in the diagram.
<2CE: 2x2 CHORUS>XOVER 100–4.0 k (Hz)LOW RATE 0–100, BPM: LOW DEPTH 0–100LOW PRE DELAY 0.0–40.0 (msec)LOW LEVEL 0–100HIGH RATE 0–100, BPM: HIGH DEPTH 0–100HIGH PRE DELAY 0.0–40.0 (msec)HIGH LEVEL 0–100POSITION Can be moved to the ( ) locations shown
in the diagram.
<SDD: SHORT DELAY>DELAY TIME 0–400 (msec), BPM: FEEDBACK 0–100FX LEVEL 0–120POSITION Can be moved to the ( ) locations shown
in the diagram.
50
Algorithm list
Section 4
<HU: HUMANIZER>MODE PICK, AUTO, RANDOMVOWEL [1] a, e, i, o, u MODE = PICK, AUTOVOWEL [2] a, e, i, o, u MODE = PICK, AUTOSENS 0–100 MODE = PICKRATE 0–100, BPM: DEPTH 0–100MANUAL 0–100 MODE = AUTOLEVEL 0–100POSITION Can be moved to the ( ) locations shown
in the diagram.
<VB: VIBRATO>RATE 0–100, BPM: DEPTH 0–100TRIGGER OFF, ONRISE TIME 0–100POSITION Can be moved to the ( ) locations shown
in the diagram.
<SYN: GUITAR SYNTH>SENS 0–100WAVE SQR, SAW, BRASS, BOWCHROMATIC OFF, ON WAVE = SQR, SAWOCT SHIFT 0,- 1, -2 WAVE = SQR, SAWPWM RATE 0–100 WAVE=SQRPWM DEPTH 0–100 WAVE=SQRCUTOFF F 0–100RESONANCE 0–100FLT SENS 0–100FLT DECAY 0–100FLT DEPTH -100–+100ATTACK DECAY, 0–100RELEASE 0–100VELOCITY 0–100HOLD OFF, ON WAVE = SQR, SAWSYNTH LEVEL 0–100DIR LEVEL 0–100POSITION Can be moved to the ( ) locations shown
in the diagram.
<RM: RING MODULATOR>MODE NORMAL, INTELLIGENTFREQ 0–100FX LEVEL 0–100DIR LEVEL 0–100POSITION Can be moved to the ( ) locations shown
in the diagram.
<SL: SLICER>PATTERN P01–P20RATE 0–100, BPM: TRIGGER SENS 0–100POSITION Can be moved to the ( ) locations shown
in the diagram.
DELAYEFFECT OFF, ONTYPE SINGLE, TAPDELAY TIME 0–1800 (msec), BPM: FINE TIME 0–20 (msec)TAP TIME 0–100 (%) TYPE = TAPFEEDBACK 0–100HIGH CUT 700–11 k (Hz), FLATFX LEVEL 0–120
PREAMP/SP.SIM (Speaker Simulator)EFFECT OFF, ONPREAMP TYPE JC-120, CLEAN TWIN, CRUNCH,
MATCH DRIVE, VO DRIVE, BLUES, BG LEAD, MS1959 (I), MS1959 (II), MS1959 (I+II), SLDN LEAD, METAL 5150, METAL DRIVE, AC.GUITAR, OD-1, OD-2 TURBO, DISTORTION, FUZZ
VOLUME 0–100BASS 0–100MIDDLE 0–100TREBLE 0–100PRESENCE 0–100 (MATCH DRIVE, VO DRIVE: 0– -100)MASTER 0–100BRIGHT OFF, ONGAIN LOW, MID, HIGHMIC SETTING CENT, 1–10 (cm)MIC LEVEL 0–100DIRECT LEVEL 0–100POSITION Can be moved to the ( ) locations shown
in the diagram.
4BAND EQ (Equalizer)EFFECT OFF, ONLOW EQ -20–+20 (dB)HIGH EQ -20–+20 (dB)LEVEL -20–+20 (dB)LO-MD F 100–10.0 k (Hz)LOW-MID Q 0.5–16.0LOW-MID EQ -20–+20 (dB)HI-MD F 100–10.0 k (Hz)HI-MID Q 0.5–16.0HI-MID EQ -20–+20 (dB)
NS. SUPPRESSOR (Noise Suppressor)EFFECT OFF, ONTHRESHOLD 0–100RELEASE 0–100
DELAYEFFECT OFF, ONTYPE SINGLE, TAPDELAY TIME 0–1800 (msec), BPM: FINE TIME 0–20 (msec)TAP TIME 0–100 (%) TYPE = TAPFEEDBACK 0–100HIGH CUT 700–11 k (Hz), FLATFX LEVEL 0–120
NS. SUPPRESSOR (Noise Suppressor)EFFECT OFF, ONTHRESHOLD 0–100RELEASE 0–100
DELAYEFFECT OFF, ONTYPE SINGLE, TAPDELAY TIME 0–1800 (msec), BPM: FINE TIME 0–20 (msec)TAP TIME 0–100 (%) TYPE = TAPFEEDBACK 0–100HIGH CUT 700–11 k (Hz), FLATFX LEVEL 0–120
MOD (Modulation)EFFECT OFF, ONSELECT FL, PH, CE
<FL: FLANGER>RATE 0–100, BPM: DEPTH 0–100MANUAL 0–100RESONANCE 0–100SEPARATE 0–100LEVEL 0–100POSITION Can be moved to the ( ) locations shown
in the diagram.
<PH: PHASER>RATE 0–100, BPM: DEPTH 0–100MANUAL 0–100RESONANCE 0–100POSITION Can be moved to the ( ) locations shown
in the diagram.
<CE: CHORUS>MODE MONO, ST.RATE 0–100, BPM: DEPTH 0–100PRE DELAY 0.0 –40.0 (msec)LOW CUT FLAT, 55–800 (Hz)FX LEVEL 0–100POSITION Can be moved to the ( ) locations shown
in the diagram.
REVERBEFFECT OFF, ONTYPE ROOM1, ROOM2, HALL1, HALL 2, PLATEREVERB TIME 0.1–10.0 (sec)PRE DELAY 0–100 (msec)LOW CUT 55–800 (Hz)HIGH CUT 700–11 k (Hz), FLATDENSITY 0–10FX LEVEL 0–100
MASTER<MASTER>LEVEL 0–100BPM 40–250, MIDI, GLOBAL
<FV: FOOT VOLUME>FOOT LEVEL 0–100
55
Algorithm list
PB4 ACOUSTIC MULTI
fig.4-234
This is a multi-effect for acoustic guitar.
You can use effects such as acoustic and anti-feedback to create a fully-produced acoustic sound.
DELAYEFFECT OFF, ONTYPE SINGLE, TAPDELAY TIME 0–1200 (msec), BPM: FINE TIME 0–20 (msec)TAP TIME 0–100% TYPE = TAPFEEDBACK 0–100HIGH CUT 700–11 k (Hz), FLATFX LEVEL 0–120
RSS PANNEREFFECT OFF, ONSPEED 0–100, BPM: DIRECTION CW, CCW
MASTER<MASTER>LEVEL 0–100BPM 40–250, MIDI, GLOBAL
<FV: FOOT VOLUME>FOOT LEVEL 0–100
Output L
Output R
4BAND EQ FLANGER RSS PANNER
Input L
Input R
FV
73
Algorithm list
PB20 DELAY
fig.4-203
You can choose one of two types of delay; single, or three-tap.
By using the three-tap delay, you can make independent settings for each of the three delay sounds.
A four-band equalizer is provided on the input.
In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.
4BAND EQ (Equalizer)EFFECT OFF, ONLOW EQ -20–+20 (dB)HIGH EQ -20–+20 (dB)LEVEL -20–+20 (dB)LO-MD F 100–10.0 k (Hz)LOW-MID Q 0.5–16.0LOW-MID EQ -20–+20 (dB)HI-MD F 100–10.0 k (Hz)HI-MID Q 0.5–16.0HI-MID EQ -20–+20 (dB)
DELAYEFFECT OFF, ONTYPE SINGLE, 3TAP
(SINGLE)DELAY TIME 0–2800 (msec), BPM: FINE TIME 0–20 (msec)FEEDBACK 0–100FX LEVEL 0–120DIR LEVEL 0–100HIGH DAMP GAIN -50–0 (dB)HIGH CUT FILTER 700–11 k (Hz), FLAT
(3TAP)DELAY TIME [C] 0–2800 (msec), BPM: FINE TIME [C] 0–20 (msec)TIME [L] 1–400 (%)TIME [R] 1–400 (%)FEEDBACK 0–100LEVEL [C] 0–100LEVEL [L] 0–100LEVEL [R] 0–100FX LEVEL 0–120DIR LEVEL 0–100HIGH DAMP GAIN -50–0 (dB)HIGH CUT FILTER 700–11 k (Hz), FLAT
MASTER<MASTER>LEVEL 0–100BPM 40–250, MIDI, GLOBAL
<FV: FOOT VOLUME>FOOT LEVEL 0–100
DELAY C
DELAY R
DELAY L
4BAND EQ
Output L
Output R
Feedback
Direct Level
Direct Level
Input L
Input R
FV
74
Algorithm list
Section 4
PB21 MultiTAP DELAY (20 TAP)
fig.4-223
This delay lets you make independent settings for twenty separate delay sounds.
A four-band equalizer is provided on the input.
In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.
4BAND EQ (Equalizer)EFFECT OFF, ONLOW EQ -20–+20 (dB)HIGH EQ -20–+20 (dB)LEVEL -20–+20 (dB)LO-MD F 100–10.0 k (Hz)LOW-MID Q 0.5–16.0LOW-MID EQ -20–+20 (dB)HI-MD F 100–10.0 k (Hz)HI-MID Q 0.5–16.0HI-MID EQ -20–+20 (dB)
MULTI TAP DELAYEFFECT OFF, ONRATIO 1–100 (%)TAP [1]– [20] DELAY TIME 0–2800 (msec), BPM: TAP [1]– [20] FINE TIME 0–20 (msec)TAP [1]– [20] PAN L:R 100:0–0:100TAP [1]– [20] LEVEL 0–100FB DELAY 0–2800 (msec), BPM: FB FINE 0–20 (msec)FB LEVEL 0–100LOW CUT FLAT, 55–800 (Hz)HIGH CUT 700–11 k (Hz), FLATDIR LEVEL 0–100FX LEVEL 0–120
MASTER<MASTER>LEVEL 0–100BPM 40–250, MIDI, GLOBAL
<FV: FOOT VOLUME>FOOT LEVEL 0–100
Input R Output R
MULTI TAP DELAY
4BAND EQ
Pan 1
Pan 2
Pan 20
Feedback
Direct Level
Level 1
Level 2
Level 20
Direct Level
Input L Output L
FV
75
Algorithm list
PB22 TAPE ECHO201
fig.4-230
This is a simulation of a Roland RE-201 tape echo.
In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.
TAPE ECHO201EFFECT OFF, ONMODE 1–7REPEAT RATE 0–100INTENSITY 0–100TONE BASS -100–+100TONE TREBLE -100–+100PAN HEAD S L:R 100:0–0:100PAN HEAD M L:R 100:0–0:100PAN HEAD L L:R 100:0–0:100TAPE DIST 0–100WOW RATE 0–100WOW DEPTH 0–100FX LEVEL 0–100DIR LEVEL 0–100
MASTER<MASTER>LEVEL 0–100
<FV: FOOT VOLUME>FOOT LEVEL 0–100
Input L
Input R
Output L
Output R
FV
TAPEECHO201
76
Algorithm list
Section 4
PB23 MIC SIMULATOR
fig.4-228
With this effect, sounds that were picked up by a standard dynamic mic, pin mic, or direct line, can be converted to produce the
impression that the sounds were recorded on an expensive condenser mic or a special studio mic.
A proximity effect or a sense of distance from the mic can also be added.
* We recommended the microphone should be pre-amplified (by a mixer, etc.).
This allows you to simultaneously and independently use delay and reverb on the L and R channels.
A four-band equalizer is provided on the input.
In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.
Lch & Rch: 4BAND EQ (Equalizer)EFFECT OFF, ONLOW EQ -20–+20 (dB)HIGH EQ -20–+20 (dB)LEVEL -20–+20 (dB)LO-MD F 100–10.0 k (Hz)LOW-MID Q 0.5–16.0LOW-MID EQ -20–+20 (dB)HI-MD F 100–10.0 k (Hz)HI-MID Q 0.5–16.0HI-MID EQ -20–+20 (dB)
Lch: DELAYEFFECT OFF, ONTYPE SINGLE, 3TAP
(SINGLE)DELAY TIME 0–1800 (msec), BPM: FINE TIME 0–20 (msec)FEEDBACK 0–100FX LEVEL 0–120DIR LEVEL 0–100HIGH DAMP GAIN -50–0 (dB)HIGH CUT FILTER 700–11 k (Hz), FLAT
(3TAP)DELAY TIME [C] 0–1800 (msec), BPM: FINE TIME [C] 0–20 (msec)TIME [L] 1–400 (%)TIME [R] 1–400 (%)FEEDBACK 0–100LEVEL [C] 0–100LEVEL [L] 0–100LEVEL [R] 0–100FX LEVEL 0–120DIR LEVEL 0–100HIGH DAMP GAIN -50–0 (dB)HIGH CUT FILTER 700–11 k (Hz), FLAT
This allows you to simultaneously and independently use delay and chorus on the L and R channels.
A four-band equalizer is provided on the input.
In this Algorithm, what you have set with the DIRECT MIX (p.46) will have effect.
Lch & Rch: 4BAND EQ (Equalizer)EFFECT OFF, ONLOW EQ -20–+20 (dB)HIGH EQ -20–+20 (dB)LEVEL -20–+20 (dB)LO-MD F 100–10.0 k (Hz)LOW-MID Q 0.5–16.0LOW-MID EQ -20–+20 (dB)HI-MD F 100–10.0 k (Hz)HI-MID Q 0.5–16.0HI-MID EQ -20–+20 (dB)
Lch: DELAYEFFECT OFF, ONTYPE SINGLE, 3TAP
(SINGLE)DELAY TIME 0–1800 (msec), BPM: FINE TIME 0–20 (msec)FEEDBACK 0–100FX LEVEL 0–120DIR LEVEL 0–100HIGH DAMP GAIN -50–0 (dB)HIGH CUT FILTER 700–11 k (Hz), FLAT
(3TAP)DELAY TIME [C] 0–1800 (msec), BPM: FINE TIME [C] 0–20 (msec)TIME [L] 1–400 (%)TIME [R] 1–400 (%)FEEDBACK 0–100LEVEL [C] 0–100LEVEL [L] 0–100LEVEL [R] 0–100FX LEVEL 0–120DIR LEVEL 0–100HIGH DAMP GAIN -50–0 (dB)HIGH CUT FILTER 700–11.0 k (Hz), FLAT
MODE (mode selector)This is used to select the different delay times (short, middle,
and long) combination of three playback heads. When set to
“4,” you can select short delays.
REPEAT RATEThis adjusts the “tape’s” running speed. The higher the
value, the shorter the interval of the repeated sound.
INTENSITYThis sets the number of times the sound is repeated.
TONE BASSThis adjusts the volume of the low end of the Tape Echo
sound.
TONE TREBLEThis adjusts the volume of the Tape Echo sound’s high end.
PAN HEAD S L:RPAN HEAD M L:RPAN HEAD L L:RThese adjust the pan settings for each of the short, middle,
and long delay playback heads individually. This function is
not featured on Roland’s RE-201.
TAPE DIST (tape distortion)This adds the distortion characteristic of a tape. It simulates
even the very subtle behavior that can be detected only by an
analyzer.
WOW RATE (wow flutter rate)This adjusts the wavering of the pitch that occurs with
deterioration or unevenness in the tape. The higher the value,
the more intense the wavering effect.
WOW DEPTH (wow flutter depth)Adjust the depth of pitch modulation that is produced by
wear on the tape and by irregular rotation of the tape
mechanism. Increasing this value will produce deeper
modulation.
FX LEVEL (effect level)This adjusts the volume level of the Tape Echo effect.
DIR LEVEL (direct level)This adjusts the volume level of the direct sound.
TREMOLO/PAN
Tremolo is an effect that creates a cyclic change in volume.
Pan cyclically moves the stereo position between left and
right (when stereo output is used).
EFFECTThis parameter turns the tremolo/pan effect on/off.
MODESelection for tremolo or pan.
TREMOLO:The volume will change cyclically.
PAN:The sound will be moved cyclically between left and right.
WAVE SHAPEThis adjusts changes in volume level.
RATEAdjust the rate at which the effect will operate.
* When this is set to BPM, the MASTER BPM setting (p.105)
made for each patch will determine the rate, producing an effect
sound that is synchronized with the tempo of the song.
However, if the BPM value is large, the effect will synchronize
to 1/2 or 1/4 of the BPM.
DEPTHAdjusts the depth of the effect.
117
The function of each parameter
VIBRATO
This effect creates vibrato by slightly modulating the pitch.
This effect can be used in the “GUITAR MULTI 1” algorithm
when the MOD “SELECT” parameter is set to “VB.”
* For details on MOD (Modulation) settings, refer to “About
MOD ” (p.47).
RATEThis adjusts the rate of the vibrato.
* If this is set to BPM, the MASTER BPM (p.105) setting for
each patch will determine the rate, so that the effect sound will
match the song tempo. However, if the BPM value is high, the
effect will synchronize to 1/2 or 1/4 of the BPM.
DEPTHThis adjusts the depth of the vibrato.
TRIGGERThis parameter works as a switch that turns on the vibrato
effect.
When it is set to ON, the vibrato effect will be obtained
according to the RISE TIME setting.
* This effect assumes that the trigger will be turned on with a foot
switch for attaining the vibrato effect.
RISE TIMEThis sets the time passing from the moment the trigger is
turned on until the set vibrato is obtained.
VOCAL CANCELER
When a stereo source is being input from CD or DAT etc.,
this cancels the sound which is located in the stereo center,
such as the vocal or bass.
EFFECTThis parameter turns the vocal canceller effect on/off.
BALANCEIf the sound that you wish to cancel is not located in the
center, find the point at which it is most effectively cancelled.
When the value is set to “50,” the sound that is located at the
center will be muted.
RANGE LOWSpecify the lower limit of the frequency range from which
you wish to cancel a sound. Use this setting when you wish
to decrease the volume of the vocal without affecting a low-
frequency instrument (such as bass) located in the center.
RANGE HIGHSpecify the upper limit of the frequency range from which
you wish to cancel a sound. Use this setting when you wish
to decrease the volume of the vocal without affecting a high-
frequency instrument located in the center.
VOCODER
This is a 10 band vocoder. A clear sound that was not
possible with conventional vocoders can be obtained. Input
an instrumental sound into the left channel, and a voice into
the right channel.
EFFECTThis parameter turns the vocoder effect on/off.
ENVELOPESelect how the sound will be produced.
SHARP:The human voice will be emphasized.
SOFT:The instrumental sound will be emphasized.
LONG:A vintage sound with long decay will be produced.
PAN MODESelect MONO, STEREO, L->R or R->L.
TRIGGER ON/OFFTo switch the trigger on/off of the vibrato using the foot
switch (FS-5U, DP-2 (Roland), etc.), set “Control Assign”
(p. 33) as follows.
< ASSIGN1: ON >
TARGET: MOD (VIBRATO): TRIGGER
TARGET MIN: OFF
TARGET MAX: ON
SOURCE TYPE: CONTROL1
SOURCE MODE: NORMAL
SOURCE MIN: 0
SOURCE MAX: 127
118
The function of each parameter
Section 4
MONO:The components of each frequency band will be located in
the center.
STEREO:The odd-numbered frequency bands will be located at the
left, and the even-numbered components at the right.
L->R:The low frequency bands will be located increasingly toward
the left, and the high frequency bands will be located
increasingly toward the right.
R->L:The low frequency bands will be located increasingly toward
the right, and the high frequency bands will be located
increasingly toward the left.
HOLDThis turns the Hold function on/off. If you turn Hold on
while a voice is being input into the mic, the instrument will
sound with the vocal formats that are fixed at that time.
MIC SENS (mic sensitivity)Adjust the input sensitivity of the mic.
SYNTH LEVEL (synthesizer in level)Adjust the input level of the instrument.
CHAR [1]–[10] (voice character channel)Adjust the volume of each frequency band. This setting
adjusts the tone of the vocoder. As the value is increased, the
frequency will rise.
MIC MIXAdjust the amount of the mic audio (R channel input) which
has passed through the mic HPF that will be added to the
output of the vocoder.
MIC HPFWhen mic mix is used, this adjusts the frequency at which
the high pass filter (HPF) will begin to affect the mic audio.
Higher values for this setting will allow you to mix only the
consonants. With a setting of Thru, the HPF will not be
applied.
MIC PAN L:RAdjust the panning of the mic audio.
NS THRESHOLD (noise suppressor threshold)Adjust the level at which the noise suppressor applied to the
Mic input (R channel input) will begin to function.
VoiceTRANSFORM (Voice Transformer)
This independently controls the basic pitch and the formants,
allowing a variety of voice characters to be created.
EFFECTThis parameter turns the voice transformer effect on/off.
ROBOTTurn the robot function on/off. When this is on, the audio
will be output at a fixed pitch regardless of the pitch that is
input, producing a voice character without inflection.
CRMTC PITCH (chromatic pitch)Adjust the pitch of the voice character in semitone steps. This
can be adjusted over a range of 1 octave down to 1 octaves up.
FINE PITCHMake fine adjustments to the pitch of the voice character.
CRMTC FRMT (chromatic formant)Adjust the formant of the voice character in semitone steps.
This can be adjusted over a range of 1 octave down to 1
octaves up.
FINE FRMT (fine formant)Make fine adjustments to the formant of the voice character.
MIX BAL (mix balance)Adjust the balance between the voice character volume and
the normal voice volume. When the value is set to “0,” only
the normal voice will be output, while only the voice
character sound is output when it is set to “100.”
HOLD ON/OFFTo switch hold on/off using the foot switch (FS-5U,DP-2
(Roland),etc.), set “Control Assign” (p. 33) as follows.
< ASSIGN1: ON >
TARGET: VOCODER: HOLD
TARGET MIN: OFF
TARGET MAX: ON
SOURCE TYPE: CONTROL1
SOURCE MODE: NORMAL
SOURCE MIN: 0
SOURCE MAX: 127
119
The function of each parameter
WAH
The wah effect creates a unique tone by changing the
frequency response characteristics of a filter. Pedal wah lets
you use an Expression pedal or the like to obtain real-time
control of the wah effect. Auto wah creates an automatic wah
by cyclically changing the filter, or by changing the filter in
response to the volume of the input.
EFFECTTurns the pedal wah/auto wah effect on/off.
SELECT (effect select)Selects either pedal wah “WAH” or auto wah “AW”.
* If you edit an effect with “SELECT,” the effect parameter that
you have set before editing will be initialized.
WAH (pedal wah):The effect will function as a pedal wah.
AW (auto wah):The effect will function as an auto wah.
< When “WAH (pedal wah)” is selected >The effect of the wah pedal can be obtained by operating the
Expression pedal.
* For a detailed explanation, see “Ways to use control assign”
(page 39).
PEDALThis adjusts the position of the wah pedal.
LEVELAdjusts the volume.
< When “AW (auto wah)” is selected >MODESelection for the wah mode.
LPF (low pass filter):This creates a wah effect over a wide frequency range.
BPF (band pass filter):This creates a wah effect in a narrow frequency range.
POLARITYSelection for the direction in which the filter will change in
response to the input.
UP:The frequency of the filter will rise.
DOWN:The frequency of the filter will fall.
SENS (sensitivity)This adjusts the sensitivity at which the filter will change in
the direction determined by the polarity setting. Higher
values will result in a stronger response. With a setting of
“0,” the strength of picking will have no effect.
FREQ (frequency)This adjusts the center frequency of the Wah effect.
PEAKAdjusts the way in which the wah effect applies to the area
around the center frequency. Lower values will produce a
wah effect over a wide area around the center frequency.
Higher values will produce a wah effect in a narrow area
around the center frequency.
* With a value of “50” a standard wah sound will be produced.
RATEAdjusts the rate of the auto wah.
* If this is set to BPM, the MASTER BPM (p.105) value set for
each patch will determine the rate, so that the effect sound will
match the tempo of the song. However if the BPM value is high,
the effect will synchronize to 1/2 or 1/4 of the BPM value.
DEPTHAdjusts the depth of the auto wah effect.
LEVELAdjusts the volume.
120
The function of each parameter
Section 4
Before using RSS
* In the Delay RSS and Chorus RSS algorithms, the spatial
placement is fixed, and it is not possible to adjust Azimuth and
Elevation.
fig.4-310
< Cautions when using RSS >RSS (Roland Sound Space) is an effect that controls three-
dimensional placement of the sound. In order for RSS to be
as effective as possible, note the following points.
• Acoustically “dead” rooms are most suitable.
• Single-way speakers are most suitable. However, coaxial
or virtual coaxial multi-way speakers are also OK.
• The speakers should be distanced from the side walls as
far as possible.
• Do not excessively separate the speakers to left and right.
• Monitor in the sweet spot shown below.
fig.4-311
Front
Right
Left
Back
Up
Down
0°
Elevation
Azimus
30° 30°
121
Section 5. Using MIDI to Operate the VF-1
* If you would like to learn more about MIDI, refer to “What is
MIDI” (p. 131).
What you can do using MIDI
Select PatchesYou can make VF-1 patches switch when you change sounds
(Program Change messages) on an external MIDI device.
The settings of the Program Change Map (p. 124) determine
the patches that will be selected when a program change
message is received.
When connected as illustrated below, switching a program
number on the external MIDI device will cause the
corresponding program number to be transmitted, and the
VF-1 will receive this program change message (program
number) and switch patches accordingly.
fig.5-01
At the factory settings, the program change map is set as
follows.
fig.5-01a
If you wish to select a patch that is not shown in this table,
you will need to modify the settings of the program change
map. For the procedure, refer to “Program Change Map
Settings” (p. 124).
Control specified parametersControl Change can be used to control specified VF-1
parameters during your performance. The Control Assign
settings (p.33) determine the VF-1 parameter that is
controlled by each MIDI message.
Transmit dataVF-1 settings such as effect sounds etc. can be transmitted as
exclusive messages to other MIDI devices. This allows
another VF-1 to be given the same settings, or effect sound
settings to be stored in a sequencer or other data storage
device.
Making settings
* When using the following functions, please refer to the
procedure given for each function.
MIDI PC MAP (MIDI program change map) (p. 124)
MIDI BULK DUMP (MIDI bulk dump) (p. 125)
MIDI BULK LOAD (p. 126)
fig.5-02
1. Press [UTILITY].
2. Rotate [NUMBER] to select “MIDI.”
fig.5-03
3. Press [ENTER].
4. Use PARAMETER [ ][ ] to move the cursor to the
value of the parameter that you wish to set.
FC-200MIDI OUT
MIDI IN
Programnumber
VF-1Patch number
123
100101
128
UA1UA2UA3
UA100UB1
UB28
The VF-1 can accept “Bank Select messages,” thus
allowing all of its patches to be selected.
For details refer to the MIDI implementation (p.132).
1,6
4
2,3,5
122
Section 5. Using MIDI to Operate the VF-1
Section 5
fig.5-04
CH (MIDI channel)
OMNI MODE
DEV. ID (Device ID)
fig.5-12
MIDI PC MAP (Program change map)
fig.5-06
MIDI BULK DUMP (Bulk dump) (p. 125)
fig.5-07
MIDI BULK LOAD (Bulk load) (p. 126)
5. Rotate [VALUE] to modify the setting.
The change will occur more rapidly if you hold down
[CATEGORY] as you rotate [VALUE].
6. Press [UTILITY] to return to Play mode.
* If you press [EXIT] in step 6, you will return to step 2. If you
press [EXIT] once again, you will return to Play mode.
Setting the MIDI channelCH (MIDI channel): 1–16fig.5-08
Set the MIDI channel used for transmitting and receiving
MIDI messages.
Select the same channel as used by the device connected to
the VF-1.
* At the factory settings, the MIDI channel will be channel 1.
Setting the Omni modeOMNI MODE: OFF, ONfig.5-09
If Omni mode is on, MIDI messages of all channels will be
received, regardless of the MIDI channel setting.
* Even if Omni mode is turned on, system exclusive data is
received only if its device ID matches the “Device ID” setting.
* With the factory settings, the setting is Omni On.
Setting the Device IDDEV. ID (Device ID): 1–32fig.5-10
Determines the device ID used for transmitting and receiving
exclusive messages.
* At the factory settings, the device ID is set to “1.”
123
Section 5. Using MIDI to Operate the VF-1
Program Change Map Settings
When using Program Change messages sent from an external
MIDI device to select VF-1 Patches, you can freely specify the
correspondence between the Program Change number that
was received and the VF-1 Patch that will be selected.
Making settingsfig.5-11
1. Press [UTILITY].
2. Rotate [NUMBER] to select “MIDI.”
fig.5-03
3. Press [ENTER].
4. Use PARAMETER [ ][ ] to select “MIDI PC
MAP.”
5. Use PARAMETER [ ][ ] to move the cursor to the
program number (PC#), and rotate [VALUE] to select the
program number that will be received.
The setting will change more rapidly if you hold down
[CATEGORY] while you rotate [VALUE].
fig.5-12
6. Use PARAMETER [ ][ ] to move the cursor to the
patch number, and rotate [VALUE] to specify the patch
number that will be selected when the program number
(selected in step 5) is received.
The setting will change more rapidly if you hold down
[CATEGORY] while you rotate [VALUE].
fig.5-25
7. Repeat steps 5–6 as necessary to specify the
correspondence between incoming program numbers
and the patches that will be selected.
8. Press [WRITE] to save the program change map settings.
The settings will be discarded unless you press [WRITE].
9. Press [UTILITY] to return to Play mode.
Never turn off the power while the display shows “Keep
Power ON!” If the power is turned off while this display is
shown, the VF-1 may malfunction or its data may be lost.
* If you press [EXIT] in step 7, you will return to step 2. If you
press [EXIT] once again you will return to Play mode.
1,9 8
4,5,6
2,3,5
124
Section 5. Using MIDI to Operate the VF-1
Section 5
Transmitting VF-1 data (Bulk Dump)
The VF-1 can use exclusive messages to set another VF-1 to
the same settings, or to transmit its settings to a device such
as a sequencer for storage. The process of transmitting such
data is called Bulk Dump.
The following data can be transmitted. You can select from
the following four types of transmission.
ALL: Contents of both UTILITY and PATCH
UTILITY: Utility parameters
PATCH: All user bank patches
TEMP: Patch settings currently being edited
ConnectionsWhen saving data on a sequencerMake connections as shown below, and set the sequencer to a
condition ready to receive exclusive messages (p. 132).
* For details on sequencer operation, refer to the manual for the
sequencer you are using.
fig.5-13
When copying data to another VF-1Make connections as shown below, and set the Device ID
(p.123) of both units to match.
fug.5-14
Transmission Procedurefig.5-15
1. Press [UTILITY].
2. Rotate [NUMBER] to select “MIDI.”
fig.5-03
3. Press [ENTER].
4. Use PARAMETER [ ][ ] to select “MIDI BULK
DUMP.”
fig.5-06
5. Rotate [VALUE] to select the data that you wish to
transmit.
6. Press [ENTER] to execute the Bulk Dump.
The message “Bulk Dump...” will appear while the data is
being transmitted. When the bulk dump is completed, the
message “Complete!” will appear, then the previous screen
will reappear.
7. Press [UTILITY] to return to Play mode.
* If you press [EXIT] you will return to step 2. If you press
[EXIT] once again, you will return to Play mode.
While a bulk dump is being executed, the VF-1 will ignore
any operations of its controls.
Sequencer
MIDI OUT
MIDI IN
MIDI OUT
MIDI IN
Transmit device
Receive device
1,7
4
2,3,5,6
125
Section 5. Using MIDI to Operate the VF-1
Restoring data from a Sequencer to the VF-1 (Bulk Load)
Data that was transmitted from the VF-1 to a sequencer can
be re-transmitted to the VF-1, or data can be received from
another VF-1. This is referred to as Bulk Load.
ConnectionsMake connections as shown.
* If you are re-transmitting data from a sequencer back to the VF-
1, set the Device ID of the VF-1 to the same number that was
used when the data was transmitted to the sequencer.
fig.5-17
* For details on sequencer operation, refer to the manual for the
device you are using.
Reception procedurefig.5-18
1. Press [UTILITY].
2. Rotate [NUMBER] to select “MIDI.”
fig.5-03
3. Press [ENTER].
4. Use PARAMETER [ ][ ] to select “MIDI BULK
LOAD.”
fig.5-07
5. Transmit the data from the sequencer or other VF-1 unit.
* While data is being received, the display shows “NOW
RECEIVING...” When the bulk load is completed, the message
“Complete !” will appear, the previous display will reappear.
* While a bulk dump is being executed, the MIDI indicator (p.18)
of the VF-1 will light.
* Only exclusive data of the same Device ID will be received.
6. Press [UTILITY] to return to Play mode.
While exclusive data is being received, the VF-1 will ignore
any operations of its controls.
* If you press [EXIT], you will return to step 2. If you then press
[EXIT] once again, you will return to Play mode.
Sequencer
MIDI OUT
MIDI IN
1,6
4
2,3
126
Section 6. Appendices
Sectio
n 6
About the VF-1’s digital output
The VF-1 provides a coaxial connector (DIGITAL OUTPUT)
for digital output.
This section explains how to make connections to other
devices when using the VF-1’s DIGITAL OUT, and describes
the specifications of the digital signal that is output from the
VF-1.
Digital output signalThe VF-1 transmits an EIAJ CP-1201, S/P DIF Format digital
audio signal.
About the EIAJ CP-1201 formatThis is a format defined by the Electric Industries Association
of Japan for connections between consumer and broadcast
digital audio devices.
About S/P DIF FormatS/P DIF, short for Sony/Philips Digital Interface Format, is
one standard used for sending and receiving stereo digital
signals between digital devices.
Connecting the VF-1 to a digital audio deviceUse a video cable (75 Ω unbalanced) to make connections.
Turn off the power of the VF-1 before connecting a digital
audio device to it. If the power is on when a digital audio
device is connected to the VF-1, malfunctions can occur.
fig.6-00
Digital OUT specificationsFormat: EIAJ CP-1201, S/P DIF
Connector: coaxial connector
Electrical characteristics: RS-422A
Impedance: 75 Ω unbalanced
VF-1 operation using the FC-200
When an FC-200 MIDI foot controller (optional) is connected,
you can control the VF-1 using pedal operations. This section
includes all the information you need when using an FC-200
connected to the VF-1.
VF-1 and FC-200 connectionsfig.6-01
* If you wish to use a foot switch to switch modes on the FC-200,
connect a BOSS FS-5U foot switch (optional) to the Mode jack
of the FC-200.
* If connecting a footswitch (FS-5U; optional) to the CTL 1/2
jack, set the polarity switch as shown below. Unless the polarity
switch is set correctly, the foot switch will not work properly.
fig.6-02
DIGITAL OUTPUT
DIGITAL INPUT
FC-200
MIDI IN
MIDI OUT
Polarity switch
127
Section 6. Appendices
Selecting Patches from the FC-200Here’s how to select VF-1 Patches from the FC-200. Start the
procedure from the following state.
VF-1: the Play mode
FC-200: Program Change mode
* Set the MIDI channel of the VF-1 and FC-200 to the same
setting. At the factory defaults, the MIDI channel are set at “1.”
* If the VF-1 is not in Play mode (p. 17), press [EXIT] several
times (once or twice) to return to Play mode.
Correspondence between VF-1 patch numbers and FC-200 program numbersFC-200 program numbers correspond to the same program
numbers that are specified in the VF-1’s MIDI program
change map (p. 124). In other words, when you switch
program numbers on the FC-200, the VF-1 will switch to the
patch of the same program number.
* At the factory settings, the VF-1’s program change map is set as
follows.
fig.5-01a
About FC-200 Program Change numbersFC-200 Program change numbers (1–128) are formed by
adding the program change number corresponding to the
Number (1–10) to the program change number for the Bank
(0–12).
Banks 0–12 correspond to Program change numbers as
follows.
Bank 0 1 2.... 9 10 11 12
Program number 0 10 20.... 90 100 110 120
Numbers 1–10 correspond to Program change numbers as
follows.
Number 1 2 3.... 9 10
Program number 1 2 3.... 9 10
For example, if Bank = 1 and Number = 2, the Program
number would be 10+2=12.
If Bank=2 and Number = 10, the Program number would be
20+10=30.
FC-200 operationsHere’s how to use the Bank and Number pedals of the FC-
200 to select VF-1 Patches.
fig.6-03
(1) Selecting the bank.Each time you press a Bank pedal (UP/DOWN) the bank will
change, and will be shown in the display. Pressing “UP”
takes you to the next higher bank, and pressing “DOWN”
takes you to the next lower bank.
* Simply changing the Bank number will not make FC-200’s
Program numbers change. The Program number will change
when you next select a number.
Programnumber
VF-1Patch number
123
100101
128
UA1UA2UA3
UA100UB1
UB28
(1)(2)
128
Section 6. Appendices
Section 6
(2) Selecting the number.Press a Number pedal (1 – 10). The number pedal indicator
will light, and the Program number will change. At the same
time, the VF-1 Patch number will change.
* If you wish to select a program number which has the same
Bank number as the previous selection, it is not necessary to re-
select the Bank.
* In addition to this procedure, it is also possible to change
program numbers just by selecting a different Bank, or to use
the number pedals as numeric keys when selecting a Bank. For
details refer to the manual of the FC-200.
Control Assign operations using the FC-200Using the control pedalWhen the FC-200’s CTL pedal is pressed, Control Change
messages (controller number 80) will be transmitted from the
FC-200.
The VF-1 can receive these Control Change messages as one
of the “control assign sources” specified in each Patch, and
control the specified target parameters.
* The CTL pedal can be used when the FC-200 is in “Program
change mode” or “Control change mode.”
For example by making the following control assign settings
for a control source, you can use the control pedal to switch
the TUNER ON/OFF.
TARGET: TUNER ON/OFF
TARGET MIN: OFF
TARGET MAX: ON
SOURCE TYPE: MIDI-80
SOURCE MODE: TOGGLE
SOURCE MIN: 0
SOURCE MAX: 127
For details on control assign, refer to “Controlling
parameters in real time (Control Assign)” (p.33).
Using the expression pedalWhen the FC-200’s expression pedal is moved, Control
Change messages (controller number 7) will be transmitted
from the FC-200.
The VF-1 can receive these Control Change messages as one
of the “control assign sources” specified in each Patch, and
control the specified target parameters.
* The control pedal can be used when the FC-200 is in “Program
Change mode,” “Control Change mode,” or “Note mode.”
For example by making the following control assign settings
for a control source, you can use the expression pedal to
control the Output Level.
TARGET: MASTER: MASTER LEVEL
TARGET MIN: 0
TARGET MAX: 100
SOURCE TYPE: MIDI-7
SOURCE MODE: NORMAL
SOURCE MIN: 0
SOURCE MAX: 127
For details on control assign, refer to “Controlling
parameters in real time (Control Assign)” (p.33).
Using the FOOT SW/EXP jackWhen a separately available foot switch or expression pedal
is connected to an FC-200 FOOT SW/EXP jack, pedal or
switch movements will transmit Control Change messages of
the controller number specified for each jack.
The VF-1 can receive these Control Change messages as one
of the “control assign sources” specified in each Patch, and
control the specified target parameters.
The controller numbers specified for each FC-200 jack are as
follows.
fig.6-04
* Adjust “SOURCE TYPE” to (MIDI-*).
#17(MIDI-17)
#64(MIDI-64)
#10(MIDI-10)
#16(MIDI-16)
#11(MIDI-11)
#1(MIDI-1)
129
Section 6. Appendices
* These can be used when the FC-200 is in “Program Change
mode,” “Control Change mode,” or “Note mode.”
The type and timing of the messages transmitted by the
FOOT SW/EXP Jack will depend on the type of device that is
connected. Use the type of foot switch or pedal that is
appropriate for your needs.
When an FS-5L foot switch is connectedWhen you press the switch, an “On” (maximum value)
message will be transmitted. When you press the switch once
again, an “Off” (minimum value) message will be
transmitted. The pedal indicator will light when the pedal is
on.
When an FS-5U foot switch is connectedWhen you press the switch an “On” (maximum value)
message will be transmitted, and when you release the
switch an “Off” (minimum value) message will be
transmitted.
When an EV-5 expression pedal is connectedWhen you move the expression pedal, messages will be
transmitted to continuously indicate the current position of
the pedal, from minimum to maximum values.
VF-1 operation using the FC-50
By connecting an FC-50 MIDI foot controller (sold
separately), you can control the VF-1 from a foot pedal.
Connecting the VF-1 and FC-50Make connections as shown in the diagram.
fig.6-10
* The VF-1 and FC-50 are connected in the same way as the VF-1
and FC-200 are connected. For details refer to “VF-1 and FC-
200 connections” (p.127).
Controlling the VF-1 from the FC-50When the FC-50 is connected to the VF-1, pedal operations
on the FC-50 can control the VF-1 as follows.
Selecting VF-1 patches from the FC-50The FC-50 can select patches corresponding to the VF-1
program change map. In order to select VF-1 patches from
the FC-50, make the following settings.
1. Set the MIDI channel of the FC-50 and VF-1. (p.123)
2. Set the program change map of the VF-1. (p.124)
* When making these settings, refer to the FC-50 owner’s manual
as well.
FC-50
Roland
Foot switchFS-5U / FS-5L
etc.Expression pedalEV-5 etc.
MIDI IN
MIDI OUT
130
Section 6. Appendices
Section 6
If you connect an FS-5U (sold separately) to the bank shift
jack (UP/DOWN) of the FC-50, you will be able to select a
patch in the program change map of the VF-1. For details
refer to the FC-50 owner’s manual.
Using a foot pedal or expression connected to the FC-50 to control parameters in realtimeA foot pedal or expression pedal connected to the FC-50 can
be used to control parameters in realtime. Make the
following settings on the FC-50 and VF-1.
1. Set the MIDI channel of the FC-50 and VF-1. (p.123)
2. Make control assign settings on the VF-1. (p.33)
* When making these settings, refer to the FC-50 owner’s manual
as well.
About MIDI
MIDI is an acronym for Musical Instrument Digital Interface,
and is a world-wide standard for allowing electronic musical
equipment to communicate by transmitting messages such as
performance information and sound selections. Any MIDI
equipped device is able to transmit applicable types of data
to another MIDI equipped device, even if the two devices are
different models or were made by different manufacturers.
In MIDI, performance information such as playing a key or
pressing a pedal are transmitted as MIDI Messages.
How MIDI messages are transmitted and receivedFirst, we will explain briefly how MIDI messages are
transmitted and received.
MIDI connectorsThe following two types of connector are used to convey
MIDI messages. MIDI cables are connected to these
connectors as needed.
fig.6-05
MIDI IN: This connector receives messages from another
MIDI device.
MIDI OUT: This connector transmits messages from this
device.
MIDI channelsMIDI is able to independently control more than one MIDI
device over a single MIDI cable. This is possible because of
the concept of MIDI channels.
The idea of MIDI channels is somewhat similar to the idea of
television channels. By changing channels on a television set,
you can view a variety of programs. This is because the
information of a particular channel is received when the
channels of the transmitter and receiver match.
131
Section 6. Appendices
fig.6-06
MIDI has sixteen channels 1 – 16, and MIDI messages will be
received by the instrument (the receiving device) whose
channel matches the channel of the transmitter.
* If Omni mode is on, data of all MIDI channels will be received
regardless of the MIDI channel setting. If you do not need to
control a specific MIDI channel, you may set Omni On.
Main types of MIDI message used by the VF-1MIDI includes many types of MIDI messages that can convey
a variety of information. MIDI messages can be broadly
divided into two types; messages that are handled separately
by MIDI channel (channel messages), and messages that are
handled without reference to a MIDI channel (system
messages).
Channel MessagesThese messages are used to convey performance
information. Normally these messages perform most of the
control. The way in which a receiving device will react to
each type of MIDI message will be determined by the
settings of the receiving device.
Program Change messagesThese messages are generally used to select sounds, and
include a program chage number from 1 to 128 which
specifies the desired sound.
Control Change messagesThese messages are used to enhance the expressiveness of a
performance. Each message includes a controller number,
and the settings of the receiving device will determine what
aspect of the sound will be affected by Control Change
messages of a given control number.
System MessagesSystem messages include exclusive messages, messages used
for synchronization, and messages used to keep a MIDI
system running correctly. Exclusive messages are the main
type of message in this category used by the VF-1.
Exclusive MessagesExclusive messages handle information related to a unit’s
own unique sounds, or other device specific information.
Generally, such messages can only be exchanged between
devices of the same model by the same manufacturer.
Exclusive messages can be employed to save the settings for
Effects Programs into a sequencer, or for transferring such
data to another VF-1.
About the MIDI Implementation ChartMIDI allows a variety of messages to be exchanged between
instruments, but it is not necessarily the case that all types of
message can be exchanged between any two MIDI devices.
Two devices can communicate only if they both use the types
of messages that they have in common.
Thus, every owner’s manual for a MIDI device includes a
“MIDI Implementation Chart.” This chart shows the types of
message that the device is able to transmit and receive. By
comparing the MIDI implementation charts of two devices,
you can tell at a glance which messages they will be able to
exchange. Since the charts are always of a uniform size, you
can simply place the two charts side by side.
fig.6-07
* A separate publication titled “MIDI Implementation” is
also available. It provides complete details concerning
the way MIDI has been implemented on this unit. If
you should require this publication (such as when you
intend to carry out byte-level programming), please
contact the nearest Roland Service Center or
authorized Roland distributor.
BroadcastingStation A
T.V. information from many different broadcasting station is sent through an antena.
Select the channel of the broadcasting station you wish to watch
BroadcastingStation B
BroadcastingStation C
TransmitFunction
Fold hereMIDI Device A MIDI Device B
Recognized Remarks
132
Section 6. Appendices
Section 6
Restoring the factory settings (Factory Reset)
You can restore the VF-1 to its factory settings. This
operation is called “Factory Reset.”
When you perform the Factory Reset operation, all data that
was saved will be returned to the factory settings. If you have
already saved data that you wish to keep, use Bulk Dump (p.
125) to save the data on an external MIDI device (sequencer
or the like) before performing the factory reset.
The following types of factory reset are available.
ALL:All data of the VF-1 will be restored to the factory settings.
UTILITY:All of the Utility data will be restored to the factory settings.
PATCH:All the user bank patches (UA1–100, UB1–100) will be
restored to the factory settings.
fig.6-101
1. Press [UTILITY].
fig.6-08
2. Rotate [VALUE] to select “FACT RESET.”
3. Press [ENTER].
4. Rotate [NUMBER] to select the data that will be restored
to the factory settings.
fig.6-09
5. Press [ENTER].
A message will ask you to confirm that you really want to
execute the Factory Reset operation.
fig.6-20
To halt the Factory Reset operation, press [EXIT].
6. When you press [ENTER], the Factory Reset operation
will be executed.
When the factory reset has been completed, the display will
indicate “Complete !,” and you will return to Play mode.
Never turn off the power while the display shows “KEEP
POWER ON !” If the power is turned off while this display is
shown, the VF-1 may malfunction or its data may be lost.
1 2,3,4,5,6
133
Section 6. Appendices
Troubleshooting
In there is no sound or other operational problema occur, first check through the following solutions. If this does not resolve the problem, then contact your dealer or a nearby Roland service station.
No Sound/Volume Too Low Are the connection cables broken?
Try using a different set of connection cables.
Could you be using a connection cable that contains a
resistor?
Use a connection cable that does not contain a resistor.
Is the VF-1 correctly connected to the other devices?
Check connections with the other devices. (p.14)
Is the connected amp/mixer turned off, or the volume
lowered?
Check the settings of your amp/mixer system.
Is the INPUT Level knob lowered?
Adjust [INPUT L/R] to an appropriate position. (p.17)
Is EFFECTS OFF?
If the EFFECTS operation has been set to “MUTE,” setting
EFFECTS will mean that the direct sound is not output
either. (p.22, 43)
Is each effect set correctly?
Use the level meter to check the output level of each
effect.If there is an effect for which the meter does not
move, check the settings for that effect. (p.31)
Is the LEVEL or FOOT LEVEL set to “0”?
Adjust the MASTER and FOOT LEVEL to appropriate
volumes. (p.105)
Are “MASTER LEVEL” and “FOOT VOLUME LEVEL”
specified as a control assign Target?
Move the controller to which it is assigned. (p.33)
Sound Is Distorted Are the input levels set appropriately?
Adjust [INPUT L/R] to an appropriate position. (p.17)
Is each effect set correctly?
Use the Level Meter (p.31) to check the output level of
each effect.
If the output level moves beyond the peak, adjust the
settings of the effect.
Are the levels of connected devices excessively high?
Adjust the output levels of connected devices to an
appropriate setting.
The direct and effect sounds are not output as you have set. Is the DIRECT MIX is set to “OFF”?
If the DIRECT MIX is set to “OFF,” no direct sound is
output, but only the effect sound is sent.
Set the DIRECT MIX (p. 46) of the Global Sound Settings
to “PATCH”
Patch Number Does Not Change Is something other than the Play mode screen (p.17)
shown in the display?
On the VF-1, patches cannot be selected outside of the
Play mode screen. Press [EXIT] once or twice to return to
Play mode.
Pedal Connected to CTL 1/2 Jack Doesn’t Change Patches Is something other than the Play mode screen (p.17)
shown in the display?
On the VF-1, patches cannot be selected outside of the
Play mode screen. Press [EXIT] once or twice to return to
Play mode.
Is the VF-1 set to “CATEGORY On”?
In Play mode when the display indicates “CATEGORY
On,” patches of the same category will be selected
sequentially. Pressing [EXIT] in Play mode will make the
display change to “CATEGORY OFF,” and you will be
able to select patches as you specified in the “NUMBER
U/D MIN” and “NUMBER U/D MAX” settings.
Has the Patch number select range been set
appropriately?
Check the “NUMBER U/D MIN” and “NUMBER U/D
MAX” range. (p.43)
Has the function of the CTL 1/2 jack been set
correctly?
Set the function of the CTL 1/2 jack to either “NUMBER
UP” or “NUMBER DOWN.” (p.44)
134
Section 6. Appendices
Section 6
Parameters Specified with Control Assign Can’t Be Controlled If you are using a foot switch connected to the CTL 1,2
jack to control the effect, make sure that the function
of the jack to which the foot switch is connected is set
to “ASSIGNABLE.” (p.44)
Has the source setting been made correctly for the
Control Assign?
Make sure that “SOURCE TYPE” and “SOURCE MODE”
are set appropriately for the “source” (foot switch,
expression pedal) that is connected to the CTL 1,2 jack.
(p.34)
When using MIDI to control parameters
Make sure that the MIDI channels of both devices match.
(p.123)
Make sure that the controller numbers you are using
match. (p.34)
MIDI Messages Are Not Received Are the MIDI cables broken?
Try another set of MIDI cables.
Is the VF-1 correctly connected to the other MIDI
device?
Check connections with the other MIDI device.
Do the MIDI channel settings of both devices match?
Make sure that the MIDI channels of both devices match.
(p.124)
Did you set the device IDs to match?
If you wish to transfer data between two VF-1 units, the
transmitting VF-1 and receiving VF-1 must be set to the
same device ID. (p.123)
Error Messages
MIDI FORMAT ERR!Reason: The format of the Exclusive message that is being
received is incorrect.
Action: Check the data that is being transmitted and try
the operation again. Also, make sure the MIDI
cable isn’t unplugged, broken, or shorted.
CHECK SUM ERROR!Reason: The Check Sum of the Exclusive message that is
being received is incorrect.
Action: Check the data that is being transmitted and try
the operation again. Also, make sure the MIDI
cable isn’t unplugged, broken, or shorted.
MIDI RXBUF ERR!Reason: A large amount of MIDI data was received in a
short time and could not be processed.
Action: Check that the transmitting device is not
transmitting excessive amounts of MIDI data.
MIDI RX ERROR!Reason1: A large amount of MIDI data was received in a
short time and could not be processed.
Action 1: Check that the transmitting device is not
transmitting excessive amounts of MIDI data.
Reason 2: It is possible that the MIDI cable connected to
MIDI IN has been pulled out, or damaged?
Action 2: Check the MIDI cable connections.
135
Section 6. Appendices
MIDI Implementation Chart
Function...
BasicChannel
Mode
NoteNumber :
Velocity
AfterTouch
Pitch Bend
ControlChange
ProgChange
System Exclusive
SystemCommon
SystemReal Time
AuxMessage
Notes
Transmitted Recognized Remarks
DefaultChanged
DefaultMessagesAltered
True Voice
Note ONNote OFF
Key'sCh's
0, 321–31
64–95
: True #
: Song Pos: Song Sel: Tune
: Clock: Command
: All sound off: Reset all controllers: Local ON/OFF: All Notes OFF: Active Sense: System Reset
X
XX
XX
X
XX
X
XXX
OOO
X**************
O
XXX
XX
XXXXXX
1–161–16
Mode 1 / Mode 3XX
XX
X
XX
X
O0–127
O
XXX
OX
XXXXXX
Bank Select
* 1 This ignores the LSB.* 2 This recognize the message set for “Parameters realtime control.”* 3 This can be set with the OMNI MODE parameters. Memorized.* 4 This is used for calculating the tempo when you set the parameters that allows BPM setting, such as DELAY TIME/RATE, to MIDI Sync.
Model VF-1
Date : Aug. 31, 1999
Version : 1.00MIDI Implementation Chart
**************
**************
Mode 1 : OMNI ON, POLY
Mode 3 : OMNI OFF, POLY
Mode 2 : OMNI ON, MONO
Mode 4 : OMNI OFF, MONO
O : Yes
X : No
Patch Number1–128
Memorized
* 1* 2* 2
* 4
24-BIT MULTIPLE EFFECTS PROCESSOR
* 3
136
Section 6. Appendices
Section 6
Specifications
VF-1 : 24-Bit Multiple Effects Processor
AD Conversion24 bit 64 times Oversampling ∆∑ Modulation
DA Conversion24 bit 128 times Oversampling ∆∑ Modulation
Sampling Frequency44.1 kHz
Program Memories400: 200 (User) + 200 (Preset)
Nominal Input LevelGUITAR INPUT Jack: -20 dBmINPUT Jack L (MONO)/R: -20 dBm,+4dBm
Input ImpedanceGUITAR INPUT Jack: 1 MΩINPUT Jack L (MONO)/R: 20 kΩ
Nominal Output LevelOUTPUT Jack L (MONO)/R: -20 dBm, +4 dBm
AAC Adapter jack .............................................................13ACOUSTIC MULTI ........................................................56Algorithm ........................................................................25ASSIGN HOLD ...............................................................43Assign on/off ..................................................................33ASSIGNABLE .................................................................44
Used for instructions intended to alert the user to the risk of injury or material damage should the unit be used improperly.
* Material damage refers to damage or other adverse effects caused with respect to the home and all its furnishings, as well to domestic animals or pets.
Used for instructions intended to alert the user to the risk of death or severe injury should the unit be used improperly.
The symbol alerts the user to things that must be carried out. The specific thing that must be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the power-cord plug must be unplugged from the outlet.
The symbol alerts the user to important instructions or warnings.The specific meaning of the symbol is determined by the design contained within the triangle. In the case of the symbol at left, it is used for general cautions, warnings, or alerts to danger.
The symbol alerts the user to items that must never be carried out (are forbidden). The specific thing that must not be done is indicated by the design contained within the circle. In the case of the symbol at left, it means that the unit must never be disassembled.
For the USA
FEDERAL COMMUNICATIONS COMMISSIONRADIO FREQUENCY INTERFERENCE STATEMENT
This equipment has been tested and found to comply with the limits for a Class B digital device, pursuant to Part 15 of the FCC Rules. These limits are designed to provide reasonable protection against harmful interference in a residential installation. This equipment generates, uses, and can radiate radio frequency energy and, if not installed and used in accordance with the instructions, may cause harmful interference to radio communications. However, there is no guarantee that interference will not occur in a particular installation. If this equipment does cause harmful interference to radio or television reception, which can be determined by turning the equipment off and on, the user is encouraged to try to correct the interference by one or more of the following measures:
– Reorient or relocate the receiving antenna.– Increase the separation between the equipment and receiver.– Connect the equipment into an outlet on a circuit different from that to which the receiver is connected.– Consult the dealer or an experienced radio/TV technician for help.
Unauthorized changes or modification to this system can void the users authority to operate this equipment.This equipment requires shielded interface cables in order to meet FCC class B Limit.
This product complies with the requirements of European Directive 89/336/EEC.
For EU Countries
For Canada
This Class B digital apparatus meets all requirements of the Canadian Interference-Causing Equipment Regulations.
Cet appareil numérique de la classe B respecte toutes les exigences du Règlement sur le matériel brouilleur du Canada.
NOTICE
AVIS
2
001
• Before using this unit, make sure to read the instructions below, and the Owner’s Manual.
• Do not attempt to repair the unit, or replace parts within it (except when this manual provides specific instructions directing you to do so). Refer all servicing to your retailer, the nearest Roland Service Center, or an authorized Roland distributor, as listed on the “Information” page.
• When using the unit with a rack or stand recom-mended by Roland, the rack or stand must be carefully placed so it is level and sure to remain stable. If not using a rack or stand, you still need to make sure that any location you choose for placing the unit provides a level surface that will properly support the unit, and keep it from wobbling.
• Be sure to use only the AC adaptor supplied with the unit. Also, make sure the line voltage at the installation matches the input voltage specified on the AC adaptor’s body. Other AC adaptors may use a different polarity, or be designed for a different voltage, so their use could result in damage, malfunction, or electric shock.
• Avoid damaging the power cord. Do not bend it excessively, step on it, place heavy objects on it, etc. A damaged cord can easily become a shock or fire hazard. Never use a power cord after it has been damaged.
• This unit, either alone or in combination with an amplifier and headphones or speakers, may be capable of producing sound levels that could cause permanent hearing loss. Do not operate for a long period of time at a high volume level, or at a level that is uncomfortable. If you experience any hearing loss or ringing in the ears, you should immediately stop using the unit, and consult an audiologist.
Thank you, and congratulations on your choice of the BOSSVF-1 24-BIT MULTIPLE EFFECTS PROCESSOR.
Before using this unit, carefully read the sections entitled:
• USING THE UNIT SAFELY (page 2–3)
• IMPORTANT NOTES (page 11)
These sections provide important information concerningthe proper operation of the unit.
Additionally, in order to feel assured that you have gained agood grasp of every feature provided by your new unit,Owner’s manual should be read in its entirety. The manualshould be saved and kept on hand as a convenient reference.